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Mongol: The Rise of Genghis Khan (2007)
"Mongol" (original title)

7.3
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Ratings: 7.3/10 from 33,698 users   Metascore: 74/100
Reviews: 158 user | 158 critic | 27 from Metacritic.com

The story recounts the early life of Genghis Khan who was a slave before going on to conquer half the world including Russia in 1206.

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Title: Mongol: The Rise of Genghis Khan (2007)

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Cast

Cast overview, first billed only:
...
Honglei Sun ...
Khulan Chuluun ...
Aliya ...
Oelun - Temudjin's Mother
Ba Sen ...
Esugei - Temudjin's Father
Amadu Mamadakov ...
Targutai
He Qi ...
Dai-Sechen
Ben Hon Sun ...
Monk
Ji Ri Mu Tu ...
Boorchu
You Er ...
Sorgan-Shira (as A You Er)
...
Altan (as Hong Jong Ba Tu)
Deng Ba Te Er ...
Daritai (as E Er Deng Ba Te Er)
Bao Di ...
Todoen
Su Ya La Su Rong ...
Girkhai (as Su You Le Si Ren)
Sai Xing Ga ...
Chiledu
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Storyline

The movie is an epic story of a young Genghis Khan and how events in his early life lead him to become a legendary conqueror. The 9-year-old Temüjin is taken on a trip by his father to select a girl as his future wife. He meets Börte, who says she would like to be chosen, which he does. He promises to return after five years to marry her. Temüjin's father is poisoned on the trip, and dies. As a boy Temüjin passes through starvation, humiliations and even slavery, but later with the help of Börte he overcomes all of his childhood hardships to become one of the greatest conquerors the world has ever known. Written by jck movies

Plot Summary | Plot Synopsis

Taglines:

The untold story of Genghis Khan's rise to power See more »


Motion Picture Rating (MPAA)

Rated R for sequences of bloody warfare | See all certifications »

Parents Guide:

 »
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Details

Language:

|

Release Date:

20 September 2007 (Russia)  »

Also Known As:

Mongol: The Rise of Genghis Khan  »

Filming Locations:

 »

Box Office

Budget:

$20,000,000 (estimated)

Opening Weekend:

£185,364 (UK) (6 June 2008)

Gross:

$5,701,643 (USA) (5 September 2008)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Due to the isolation in which the film was made, viewing dailies was impossible. Exposed footage had to be sent to Hamburg in Germany to be processed, and then sent back to China for viewing, a process which took three weeks (usually dailies are processed and returned in 24 hours) See more »

Goofs

The Mongolian tribes, including the hordes that conquered their vast empire, rode on a very peculiar race of horses, stocky build, with relatively short legs and a large head. The horses used in the movie look like ordinary western horses See more »

Quotes

Jamukha: I want to ask you: All Mongols fear the thunder... but not you?
Temudjin: I had no place to hide from the thunder... so I wasn't afraid anymore.
See more »

Connections

Featured in Timeshift: Epic: A Cast of Thousands! (2011) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
The Making of Genghis Khan
23 May 2008 | by (San Francisco) – See all my reviews

Astonishingly, the name and the person of Genghis Khan in Sergei Bodrov's "Mongol," a great, Shakespearean drama about this seminal figure in history, don't appear until the very end of the two-hour epic. Instead, we see Temudjin, the man yet to become (posthumously) Khagan (emperor) of what was to be for several centuries the largest contiguous empire in history. Whether Bodrov completes the contemplated two additional chapters of the story or not, "Mongol" stands on its own as a masterpiece.

Contradicting the Western (and Russian) image of Genghis as the monstrous conqueror, Bodrov's work is influenced by Lev Gumilev's "The Legend of the Black Arrow" and is based on "The Secret History of the Mongols," the 13th century Mongolian account, unknown until its re-emergence in China 700 years later. For a director, who learned in school only about the horrors of Russia's 200-year subjugation by the Mongols, taking a "larger view" is a remarkable act.

Unlike Omar Sharif in the 1965 Henry Levin "Genghis Khan" or Takashi Sorimachi in Shinichiro Sawai's disappointing 2007 "To the Ends of the Earth and Sea," Tadanobu Asano in Bodrov's film is strictly Temudjin, not the great Khan. He lived from 1162 to 1227, and "Mongol" covers the years between 1171 and the beginning of the unification of Mongolian tribes around the turn of the century.

In fact, the spookily powerful child Temudjin (Odnyam Odsuren) dominates the first part of the film, undergoing trials and tribulations that make the lives of Dickens' abused and imperiled children look like a picnic. From age nine into his 30s, Temudjin was orphaned, hunted, imprisoned, enslaved, and constantly threatened by extinction. Literally alone in the vast landscape (brilliantly photographed by Rogier Stoffers and Sergei Trofimov), Temudjin escapes death repeatedly, at times almost mysteriously.

"Mongol" is huge - with endless vistas and epic crowd scenes, quite without special effects - but Bodrov keeps the setting just that, never strutting visuals for their own sake. The film is about people, and the cast is magnificent. Asano's face and eyes hold attention, and make the viewer experience simultaneous feelings of getting to know the character he plays and being held at arm's length. Bodrov and Asano escape all the many Hollywood pitfalls in making an epic - they present nothing easy, predictable, trite. The term "Shakespearean" is used here advisedly.

The Mongolian actors are sensational: Khulan Chuluun is luminous as Borte, Temudjin's wife; Borte's 10-year-old self, the girl who chooses Temudjin, then 9, while he thinks he is the one making the decision, is unforgettable, even if the name is hard to remember: Bayertsetseg Erdenebat.

Chinese actors are vital to the film. As Temudjin's father (poisoned by Tatars before the boy reached 10), Sai Xing Ga makes an impression few actors can achieve in such a brief appearance. Nearly overshadowing Asano is the grand thespian exercise from Sun Hong-Lei, as Temudjin's all-important blood brother Jamukha. Sun is almost too big for the big screen, perhaps a less intense performance would have served the film better.

Another problem is near the end of "Mongol," with Borte's stranger-than-fiction (and actually fictional) rescue of Temudjin from a Tangut prison, years, hundreds of miles, and impossible alliances and dalliances telescoped into a few near-incongruous minutes - all to cover a 10-year-long gap in Genghis' history. Except for that, however, Bodrov's work is engrossing, spectacular, and memorable.


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