TRAVELLERS AND MAGICIANS
Bhutan, 2003, 108 minutes, Colour.
Tshewang Dendup, Sonam Kinga.
Directed by Khyentse Norbu.
Travellers and Magicians is the second film of the writer-director, a native of Bhutan. His previous film, The Cup, was an Australian- Bhutan collaboration focusing on two young monks interested in soccer at the time of the World Cup.
This film was actually made in Bhutan itself, utilising the beautiful mountain scenery of the Himalayas. Once again it is a Bhutan- Australian co-production. The film was shot entirely in the language of Bhutan itself.
The film is a story of two journeys, two spiritual journeys. The chief officer in a remote village in the mountains realises he cannot remain in his town and wants to travel abroad, especially to America. He has a vision of himself working in the fields. He hitchhikes and meets a monk, an old apple seller, a paper maker, his young daughter – to whom he is attracted.
The second journey is the story recounted by the monk, a fable that paralyses the officer’s journey. The film intercuts between the two stories. The fable is about a farm boy who studies magic, leaves his village, while having a meal with his brother, he goes on his journey, meets an old recluse and his wife. He falls in love with the wife – and the film has a warning ending.
The dilemma, of course, for the officer is whether he wants to leave his home or not.
The film has a Buddhist spirituality sense pervading it, the perspective of the writer-director (as was also the case with The Cup).
1. The impact of the film as entertainment, as insight into the life of Bhutan, of deeper themes and storytelling?
2. The Bhutan settings, the village, the mountains and the valleys, the roads? The different visual styles for the contemporary story and for the story within the film? The musical score?
3. The structure of the film? The focus on the young man, his ambitions to go to America, his life in the village? On the road, the encounter with people, the monk and the storytelling, the interweaving of the story as the group went on their journey?
4. The contemporary story: the young man, (pointed / appointed)? as an official in the village, his encounter with the monks and their archery? The official in charge, suspicious of him? His friend, their discussions? His wanting to be modern, his posters, the music, the girls? His waiting for the letter, the long delay, the final delivery? His excitement, getting permission to leave, going to the road, interrupted by people wanting to give him things? Missing the bus? On the road, nobody giving him a lift? The encounter with the apple seller, the old man and his paper, his daughter? The monk and his cheerfulness? Their being on the road, camping at night, the meals? The storytelling? The young man and his attraction to the girl, giving up smoking? The monk and his taunts? Jovial? The final lift, the young man staying with the girl, his becoming part of the monk's storytelling?
5. The monk, cheerful, telling stories? The apple man? The old man and his daughter, giving up her studies, helping her father? The people on the road, the cars passing, the bus drivers, the trucks?
6. The story within a story, the father with the two sons, their different characters, the older son going off, becoming lost, the encounter with the old man, his daughter? The infatuation with the daughter, her pregnancy? The plan to poison the old man, his death? The death of the woman and haunting the man?
7. The Buddhist background of the film, ways of Buddhist storytelling and moralising?
