THE CAVE OF THE YELLOW DOG (2005)
January 9th 2009 08:11
Category: No Category
The Cave Of The Yellow Dog is no longer as firmly entrenched in the realm of magical realism as its predecessor The Story of the Weeping Camel (2003) was. If comparisons are unavoidable, Cave holds its own as a worthwhile film-going experience. It is a heartwarming and intimate portrayal of the Batchuluun family and their everyday life on green Mongolian pastures, reminiscent of Nikita Mikhalkov’s award-winning Urga (1991). Brilliantly observed and beautifully captured, director Byambasuren Davaa’s world consists of small details revealing a richness of cultural heritage and admiration for the simplicity of the nomadic existence. The Batchuluuns have a lot of respect for each other, their work and surroundings. The parents adore their children immensely. The kids are charming, especially the little bundle of trouble Babbayar, who appears to have more personality than his small frame can safely hold. His oldest sister and our heroine Nansal has astuteness and wit to boot, adopting a stray puppy for friendship and good fortune, as it turns out.
The plot however, is just a layer above an underlying theme of nostalgic longing for a way of life at the brink of extinction. Plastic utensils and toys seem incompatible with this environment and its values, yet capitalism is bound to invade and ultimately conquer it. Because of the family’s happiness their constant struggle to makes ends meet remains hidden in the background, but many other villagers have already left the region and the Batchuluuns are also considering moving to the city. An election truck crossing the steppe to coax people to vote appears to have incongruously materialized from another dimension, rendering the existence of the nomad paradise almost absurd in the contemporary world. There is not one false or staged note throughout this film, which leaves you wishing you could beam yourself to Mongolia to experience it before it disappears like an implausible fata morgana.
Review by Patricia Bieszk
© Copyright P. Bieszk 2006
First published in The Pundit, July-August 2006, p. 13.
The plot however, is just a layer above an underlying theme of nostalgic longing for a way of life at the brink of extinction. Plastic utensils and toys seem incompatible with this environment and its values, yet capitalism is bound to invade and ultimately conquer it. Because of the family’s happiness their constant struggle to makes ends meet remains hidden in the background, but many other villagers have already left the region and the Batchuluuns are also considering moving to the city. An election truck crossing the steppe to coax people to vote appears to have incongruously materialized from another dimension, rendering the existence of the nomad paradise almost absurd in the contemporary world. There is not one false or staged note throughout this film, which leaves you wishing you could beam yourself to Mongolia to experience it before it disappears like an implausible fata morgana.
Review by Patricia Bieszk
© Copyright P. Bieszk 2006
First published in The Pundit, July-August 2006, p. 13.
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