La vallée des fleurs

I heard about this film more than a year ago but didn't get around to watching it until last week. The first thing that stands out about this movie is Pan Nalin's superb direction and breathtaking cinematography, which depicts the 19th century Himalayas like never before in the first half of the film. However, the storyline was also quite slow-paced in the first half. On the other hand, the second half of the film, which takes place in modern-day Tokyo, doesn't have such a great cinematography but the storyline moves along at a much better pace, leading up to a hard-hitting and very touching ending.

8/10

Valley of Flowers got me all excited, as it was the very first public screening in Delhi's packed Siri Fort Audi where audience was spilling all over the floor... Spectators were made of all races, many from abroad to participate in Cinefan. Among them India's who's-who; film stars, ministers, ambassadors, business tycoons, designers, software giants, painters, musicians, writers and loads of young people.

Film did get mixed reactions, however I did not allow myself to be influenced by other's opinion. Something strong certainly happened to me when the lights came on –as if I was coming out of hypnosis. I even forgot to give a round of applause.

The film surely has something and I haven't figured out what? At 155 minutes, it is long, has certain problems, badly subtitled and weak in parts. But I am astonished at the story, characters and cinematic style. Pan Nalin with his second feature (after Samsara) makes a very bold step in unexplored territories and comes out strong as a scriptwriter with guts, a director with exceptional talent and a filmmaker to watch out for. Just for all those reasons I have generously given 10 out of 10.

Film's plot is both, complex and simple. It might not be for everyone but it's truly worth the viewing. Rarely a theme of love, longing and immortality has been so well depicted before. Valley… is a hymn to harmony in nature, balance among demons and humans, good and evil, life and death, black and white. It is a poetic telling of reincarnation and karma.

Valley… is a magnificent house, filmmaker invites us inside with warm Asian hospitality but does not give us keys to all the doors. Now for some that will be a negative thing and for others it would be positive. Because Pan Nalin allows audience to interact with this epic love story –in honest manner.

There are breathtaking moments in Valley… like appearance of Ushna, levitated lovemaking, valley of silence, time-walk and final climax in Japan. Cinematography is superb and the casting is near perfect. Himalayan landscapes are awesome. Towards the end the entire resolution of the saga happens in modern-day Tokyo and that is destructive and divine –like most Asian myths. Pan Nalin's regard on Tokyo and Japan is very sensitive and subtle.

Watching Valley… is truly a cinematic experience of unforgettable kind –I highly recommend to those who love traveling beyond mainstream

A fantastic film to enjoy and inspire. Valley of Flowers has gorgeous male lead and two lovely leading ladies. On their trail is Yeti, played by famous star Naseeruddin Shah. Pan Nalin has a talent for discovering talent; in Valley of Flowers he gives a break to French-Chinese Mylene Jampanoi (watch out Zhang Zyi and Sophie Marceau!!) and Japanese Eri.

Vertigenous landscapes and skyscrapers, superb casting, sublime costumes, subtle lighting and mysterious music makes Valley of Flowers an exceptional cinematic experience.

The story, warning -stay awake! Nalin does not give you all answers, he tells you his story in riddles. The film is a great long saga running full 2 hours and 35 minutes, from early 19th century to contemporary Japan. Allow your mind to be open to feel this mind blowing film.

It successfully encompasses themes of love and sacrifice, mortality and karma. It starts like an "Eastern" (a Western from the East) and towards the end drifts into poetic Asian images.

Given the length and the content of the movie, it is likely to suffer distribution problem. Besides Valley of Flowers invents its own "genre" -thus it is non-classifiable.

It is not often that such films are made, slightly ahead of its time -Valley of Flowers will neither be commercial enough for Hollywood nor "arty" enough for auteur driven festivals.

But Valley of Flowers, personally speaking, will have an important role to play in evolution of Indian and Asian cinema.

Don't miss it!

I might sound biased but first of all I love all kind of love stories in cinema.

Valley of Flowers is a great love story -the one where magic plays a role.

And I have a passion for exceptional love stories and romances. Valley of Flowers makes you dream. Its a romanticism with layers of fear -fear of life, death, demon, rebirth...

It's set in very romantic Himalayas and moves onto very seductive Tokyo. Girls are gorgeous! Guys are cool and Game is dangerous -that of human vs demon.

All that unfolds in magnificent vistas -amazing locations. The film has great production value and specially the costume design is exquisite!

Extra bonus, it is inspired from Alexandra David Neel's book. Thus it is real treat for the fan of Alexandra's dark world of magic and mysteries of Tibet and Himalayas.

In Japanese part of the movie when film slides into modern world from early 19th century, there is also a wonderful scene with BARDO (Tibetan Book of The Dead) based euthanasia.

Its great concept: what do you do once you become immortal and you can not die -help others die.

It's not so often we see in cinema Asian interpretation of love. Valley of Flowers is to be watched with open mind. It is not an easy film, mind you.

Valley of Flowers is slow and I like slow movies -I cant bear Hollywood's fast cutting any longer.

The only problem with valley of Flowers is that it is loaded with too many great ideas and concepts -many don't succeed. Maybe it is an over-ambitious adventure from writer director Pan Nalin whose SAMSARA is my all time favorite film. SAMSARA is in my list of "10 movies to watch before you die."

Sorry, Valley of Flowers is not in that list but its a brilliant attempt towards unknown. Pan Nalin is a rising sun of the east -in just two feature films he has proved talent worth of five features. I agree, he is a filmmaker to watch out for.

For Valley of Flowers; If you live on popular cinema then avoid it. But if you are in mood to let your mind do gymnastic then I would say JUST GO FOR IT! It is a rare kind of movie. It has a magic and mystery -and lots of sensuality.

Yesterday I had an opportunity to attend the private screening of integral version of Valley of Flowers (155minutes!!) in the "chick" Planet Hollywood on Champs-Elysees in Paris. The film made huge impact on me. A week earlier I saw The Fountain (2006) by Darren Aronofsky. I liked the Fountain as well but it is Valley of Flowers sent my brain spinning.

The reason I mentioned the Fountain is because I was struck by the similarities of the theme in these two movies –love across ages, death and immortality, man's fight against time… Human beings in constant state of seeking equilibrium in love, life, nature and human nature.

Both Aronofsky and Nalin are known for invading the unknown realms of the real and surreal world. Though Valley is just a second feature of Pan Nalin, but the maturity he displays in handling of his subject matter is truly astounding. Valley of Flowers is truly an independent film compare to giant 35million dollar Fountain with star cast. Fountain is witnessing a vast release worldwide. Meanwhile Valley might not even make it to our domestic screen here in US. However, It is Nalin's film, which stirred me so deep, I felt a true sense of unearthing and that made me write, my very first comment on IMDb.

I know nothing about Buddhism or Yeti or Tibet or Himalaya. But that did not matter; the film gave me enough to chew. Of course the Himalayan parts are breathtaking, like in his earlier Samsara (2001), but here the "landscapes of faces" of Bandits are awesome. Costume and Production design are top-notch, aesthetics better and higher than many multi-million dollar Hollywood blockbusters.

Nalin's cinematic sense, and certain trance like camera movements are evocative; his girls are divine (even though they are playing demon). Again like in Samsara, Nalin discovers Mylene Jampanoi; a French Chinese actress gets a break to do her first feature. Nalin auditioned several hundreds across the world before discovering Mylene. Indian actor Milind Soman is less impressive but Naseeruddin Shah again proves his talent as one of the greatest actor of Asian cinema in his brilliant interpretation of yeti.

Nalin also proves his talent as an extraordinary screenwriter, he wrote both Samsara and Valley of Flowers. His cinematic structures do not follow any recognizable genre or style. His dialogs and editing is constantly breaking rules –must mention an amazing scene of hero's "time walk" in Valley of Flowers with simple cuts on pair of feet walking from early 19th century to modern day Tokyo. This scene in itself is a cinematic poetry in the realms of Rilke or Rumi.

I've been professor of Japanese Culture and society and dealt with many of the themes of Pan Nalin's movies. Nalin's portrayal of modern day Tokyo makes keen observation about existence of superstitions, demon and notion of death in Japan. Nalin manages to penetrate the layers of modern day Japanese life very effectively. Unfortunately, in the Fountain, Aronofsky fails to display similar command in scenes of ancient Spain and modern day medicine episode.

Again it is amazing coincidence how Aronofsky and Pan Nalin, both these young filmmakers chose their hero in modern times to be a Doctor. Controversial Dr. Zinelli of Dignitas of Zurich who assisted several people in their voluntary death inspires Nalin's modern day hero. Meanwhile Aronofsky's hero researches to fight cancer. Again Nalin's episode in modern day Tokyo leads to a sublime conclusion of the story where many twists are revealed, love and lovers are sacrificed -in some of the most poetic and memorable scenes in history of modern-Asian cinema.

I ask this question several times to myself why the festivals like Cannes, Venice, Berlin or Pusan have failed to highlight this talented filmmaker from India. I've been huge fan of Satyaji Ray but now nearly 50 years later there is a filmmaker emerging from India with a new voice and new style new energy - a truly modern and universal filmmaker. I am sorry to say there have been many others in between like Mira Nair or Shyam Benegal or Das Gupta –but Pan Nalin is beyond, he is in another league all together. With his two features, I have this intuition that there is something churning within this filmmaker like a volcano. The day that volcano finds voice we will witness an existence and acknowledgment of a brilliant filmmaker. Is anyone listening in Hollywood?