Film 360

Essay 2

Instructor: Todd Decker

Summer Sun

03.23.2025

The Voice of Tibet: The Role of Tibetan Horn in Kundun

“A long, deep, whirring, haunting wail that takes you out somewhere beyond the highest

Himalaya peaks and at the same time back into your mother's womb.” —— Tsultrim Allione

captivating and deeply spiritual.

Notably, whether in Philip Glass’s film score or the sound effects themselves, the Tibetan

horn emerges as a powerful and recurring sonic element throughout the film. More than simply

an indicator of geographical setting, the Tibetan horn is deeply intertwined with the film’s

religious themes and emotional narrative. The horn’s blasts appear at the most significant

moments in the story—when the boy is chosen, when he becomes the Dalai Lama, when he

chooses to leave Tibet, and in the founding of the government in exile.

This paper will explore four key scenes that correspond to these pivotal moments and

analyze the role of the Tibetan horn in each. Its sound echoes through the sky, the earth, and

everything in between. It is a voice that is spiritual, holy, mysterious, and unwavering.

At [00:08:35], the Panchen Lama steps into the boy’s home, accompanied by Philip

Glass’s Northern Tibet [1:20–1:35]. The music features a subtle, repetitive motif layered with

singing bowls, creating a suspended, expectant atmosphere. At [00:08:59], however, as the

Panchen Lama pulls out and wipes a bowl, the score suddenly stops. The camera then zooms in

on the Buddhist prayer beads (mala) hanging around his neck. At [00:09:07], there is a close-up

of the boy staring at the beads—an object we later learn belonged to the previous Dalai Lama.

He then points directly at them, instinctively recognizing their significance.

As the camera pans upward from the prayer beads to the Panchen Lama’s face on

[00:09:10], the first five seconds of Dark Kitchen by Philip Glass are introduced. This melody,

which also appears in The Choosing score, signals the weight of the moment. When the camera

recognition. The Tibetan horn emphasizes the gravity of this gaze—not simply by increasing in

volume to draw attention, but by aligning with the eyes to signify a deep spiritual recognition

and connection between the two.

The choosing scene that follows is iconic, unfolding between [00:11:12–00:14:06],

Tibetan horn. While the first two layers provide a steady musical atmosphere that recurs

throughout the soundscape, the latter two introduce moments of unpredictability—mirroring the

uncertainty of the choosing process itself. Just as there is no cue for when the Tibetan horn will

enter, there is no clear indication of which object the boy will select next.

There are four notable musical events in this scene, each marked by a strong blast of the

Tibetan horn. At [00:11:51], the boy raises his head slightly, preparing to choose his first item.

At [00:12:30], he correctly selects a ring from two options. At [00:13:10], he picks the right pair

of eyeglasses. Finally, at [00:13:50], he accurately identifies a walking stick. These moments of

recognition are punctuated by the horn blasts, clearly signifying the boy’s correct choices. The

repetitive motifs between these blasts emphasize the tension and uncertainty of the process. In

The Becoming — blast as sanctity

If the choosing represents the destiny of the Fourteenth Dalai Lama, the becoming marks

the pivotal moment when he begins to understand and prepare himself to fully devote his life to

the future of Tibet. The responsibilities of the Dalai Lama are “by no means small and weigh

heavily upon the mind.” In one key scene, taking place around the midpoint of the film, a

The letter-reading and document-watching scene spans from [00:47:44–00:50:30],

accompanied by the first half of The Thirteenth Dalai Lama by Philip Glass. Like The Choosing,

this piece consists of two primary layers: a repetitive, light string background and unpredictable

Tibetan horn drops. The musical event here is again the Tibetan horn, but this time it takes the

form of eight even blasts played in a roll. While the scene focuses on the dialogue as the

Rinpoches read and discuss the letter from the previous Dalai Lama, the horn blasts occur four

times throughout, marking distinct moments of narrative and spiritual weight.

At [00:47:47], the scene begins with a close-up of the letter, and the first sequence of

horn blasts begins immediately. The alignment between the image and the sound signifies the

sacredness of the document, immediately establishing the letter’s spiritual authority. At

underscores the gravity and urgency of the moment, while the unpredictability of the musical cue

mirrors the suddenness of the Chinese invasion—catching both Tibet and the audience off guard.

At [00:49:07], following the Rinpoche’s somber and profound reflection, a third horn

sequence begins. In this moment, a carefully crafted montage appears between [00:49:07–

the Buddha—a reincarnated spiritual leader. The horn blast here reinforces his divine authority

and signals his emerging role as the one destined to guide the Tibetan people through crisis.

Finally, at [00:50:13], as the scene shifts to the boy watching a documentary of an atomic

bomb explosion, the fourth sequence of horn blasts begins. Here, the music almost functions as

mickey-mousing, mimicking the imagery of destruction on screen. Much like the earlier

instance, the horn once again conveys urgency and foreshadows the severity of the conflict

ahead. In all four cases, the Tibetan horn acts as a sacred call to awareness, marking key

moments of spiritual realization and historical threat.

The Leaving — blast as unwavering

As the film approaches its conclusion, the motivations behind the Fourteenth Dalai

Lama’s decision to leave Tibet become clear. His departure is not an act of surrender, but a

deliberate choice—to preserve the integrity of Tibetan Buddhism and to establish an independent

sound effect rather than part of the musical score. This shift further emphasizes the importance of

the horn’s presence, highlighting its deep connection to the spiritual and narrative weight of the

key moments. It represents Dalai Lama’s unwavering commitment to religious identity and

leadership in exile.

as a diegetic sound marking the start of the ceremony. At the very end of the scene, another blast

of the horn signifies the conclusion of the formation. These two appearances frame the entire

sequence, emphasizing the Tibetan horn’s continued importance. It not only symbolizes the

beginning and end of a solemn ritual, but also affirms the Dalai Lama’s—and the Tibetan

people’s—deep, unwavering spiritual foundation. Even in exile, the sound of the horn reinforces

a sense of continuity, rootedness, and religious conviction.

In Kundun, the Tibetan horn is far more than a cultural marker—it is a sacred voice

woven into the fabric of the Dalai Lama’s journey. Through moments of recognition,

transformation, and exile, the horn functions as a spiritual signal, reinforcing the film’s themes of