Tenzing - Review

Rating: 4 out of 5

HOW refreshing to find a movie about climbing Everest that’s prepared to focus on the invaluable role of Sherpas, as opposed to the rich, often white adventurers who so often take all the glory.

But then director Jennifer Peedom’s film is designed to set the historical record straight by celebrating the skill and heroism of Sherpa mountaineer Tenzing Norgay, whose expertise in scaling Everest together with New Zealander Edmund Hillary, as part of the first successful expedition in 1953, has often been overlooked.

Indeed, according to some historians, Tenzing was often portrayed merely as Hillary’s servant, someone who facilitated the triumph rather than being integral to it, based upon his extensive mountain knowledge.

But then the expedition in question came at a crucial time for the British Empire, given the imminent coronation of Queen Elizabeth II, and the need to beat rival countries to the summit and reassert the Empire's sense of prominence… thus placing no-nonsense ex-military man John Hunt (played by Willem Dafoe) in charge of the climbing team.

The spectre of colonialism therefore hangs over proceedings like the clouds that loom over Everest… the Sherpas frequently portrayed as servants to their colonial masters, burdened with some of the most physically gruelling elements of the climb (often preparing the paths and camps ahead, or trekking back to retrieve heavy equipment and supplies).

In one telling scene, the Sherpas decide to stage something of a protest, aware of the dangers they are placing themselves in, only for Tenzing to persuade them to persevere and claim a moral victory for themselves.

Genden Phuntsok, a Chinese actor of Tibetan descent, plays Tenzing with tremendous soul and sensitivity, displaying a fierce resolve yet a diplomatic intelligence that enables him to increasingly exert his experience and influence over Hunt and his team.

His relationship with Hillary, played by Tom Hiddleston, is also beautifully played… initially built on mutual respect but increasingly one of true friendship. When they decide to pair up, they become a formidable force, even saving each other at various points.

Hiddleston, complete with a decent New Zealand accent, plays Hillary as stoic and well mannered, imbuing him with a sense of decency. It’s not a showboating role but disciplined and likeable. You get the sense he can see how his British comrades are often exploiting the Sherpas and making them feel like outsiders in their own land - something he also feels in himself (an outsider given his Kiwi background). In Kenzing, he therefore finds a kindred spirit and it’s one of the film’s many uplifting qualities to learn that they remained friends post-ascent.

Hiddleston also deserves credit for not attempting to steal the limelight, even though his performance is typically eye-catching. He knows where the film’s true focus should lie and is content to let Phuntsok take the limelight.

That he does so convincingly and with a great deal of charm is tribute to the quality of his performance and the work he put in to honour Tenzing’s legacy. He has revealed in interviews how he pushed himself physically to fully appreciate the arduous lengths that Tenzing went to achieve his goals.

It’s a soulful performance that lends the film its heart and spirit.

Praise therefore also goes to Samdrup Dorje Lama, who plays Tenzing at the age of nine, for bringing youthful wonder coupled with heartbreak at being separated from his parents, and to Tenzin Dalha, for investing a keen sense of hope and determination (again married to heartbreak following the loss of his wife) to the 19-25-year-old Tenzing. They both capture the essence of “the boy with the mountain in his eyes”.

Likewise, to Luke Davies for a script that offers a lifetime’s perspective on the journey of Tenzing from boy to summit-conquering hero… a man for whom overcoming difficult odds (including often feeling like an outsider even among the Sherpas given his background) was an ever present part of his life.

It’s a fascinating story and Davies (along with director Peedom) ensures that we gain a full appreciation for the man that Tenzing was.

His screenplay also has a timely resonance that puts the ongoing role of Sherpas into perspective: still providing support and expertise, as well as back-breaking work, to an endless army of climbing enthusiasts - often at tremendous cost.

While the film doesn’t really go into the psychology of what makes men want to risk their lives by climbing such inhospitable and hostile terrain (like the movie Everest did), there is still a stark contrast between those who live in Everest’s shadow (for whom the climbers provide necessary work) and those who climb for the sake of the challenge.

And that’s certainly something that Peedom - whose has previously directed a documentary on Sherpas - was keen to explore, as she told The Australian Women’s Weekly: “There is something about the culture of these people living in this landscape, who have to work in this “Everest industry” that kind of represents almost the opposite of what their culture represents. I found it intriguing as a storyteller.”

It’s therefore a nice touch to even use the Tibetan name for Everest, Chomolungma, which translated means Goddess Mother of the World. It shows the reverence with which the filmmakers hold for both the mountain, its people and Tenzing himself.

It’s a respectful film and a quietly inspirational one. As well as beautifully shot by cinematographer Stefan Duscio with several vertigo inducing moments from Peedom, which capture the fine line that exists between life and death - and the key role that people like Tenzing play in making that difference.