I thought it was great when the old man was teaching Mondo to spell with letters scratched onto rocks and Mondo scooped up all the letters in his name and carried them off in his pockets. There's something about a name, isn't there? --
11 Reviews
The best adaptation ever... that isn't one
Anglik20 August 2007
Throughout this movie experience - which moved me to tears several times - I had an extraordinary feeling that I was watching an adaptation of "Le Petit Prince" ("The Little Prince") by Antoine de Saint-Exupéry. Even though the film is set in a different time and place, and its main characters and plot line are not really in sync with the story of a boy from another world, there is, at the same time, a strange affinity here with de Saint-Exupéry's timeless classic. As we watch the peculiar odyssey of a little Mondo - a boy with no home, no family, no past, no memory almost, and no real skill apart from smiling wide joyful grins and opening his heart to strangers - we have no other choice but to fall in love with this little homeless adventurer, this modern Gavroche, who seems almost mythical in the way he turns up in the midst of people's lives to touch them, move them, perhaps change them - for a couple of days, or forever.
Heartily recommended to all those who embrace cinema as a way of channeling emotions, rather than notions and philosophical ideas, through images. "Toujours beaucoup".
Heartily recommended to all those who embrace cinema as a way of channeling emotions, rather than notions and philosophical ideas, through images. "Toujours beaucoup".
Ovidiu Balan Made This Movie Worth Seeing
robertvannsmith3 November 1999
Ovidiu Balan, playing a homeless Gypsy boy, made this movie worth seeing. The movie, in itself, is visually stunning. More of a video documentary than anything, it has very little dialogue....and maybe that's a good thing. Words get in the way sometimes.
From what I have heard, Ovidiu Balan is not French and was deported after the making of the movie.
From what I have heard, Ovidiu Balan is not French and was deported after the making of the movie.
The best imagery I have ever seen
sheva1011 January 2000
Mondo, was shown here in Australia on Christmas night, and, after seeing it, I couldn't think of another movie that could rightfully replace it. This was a superb film, and one wonders why my local TV guide gave it only 3 out of 5 and described it as "moving". In my opinion, Mondo deserves a 10 out of 10, simply for its wonderful images (the scene in the garden - need I say more). Mondo was a film that seldom used words - it let its images speak for itself and tell the story. The bond between Mondo and the Vietnamese lady was a highlight of the film for me - so much so that by the end I had tears welling in my eyes. A wonderful film - now for the novel.
beautiful little film
duncmac24 June 2005
Warning: Spoilers
A wonderful movie shot in and around Nice. The cinematography is simple but beautiful, music hits all the right notes, the hero is quite charming, and the supporting cast uniformly "right". The sad ending is unvarnished by sentimentality; the film simply slices a short piece of life, makes it entirely credible, and leaves us wishing for more, but knowing there is no more. I'm really saddened to think the boy was deported after the movie had been made (see previous revue). If that's so, someone must have truly exploited the little guy, and with two grandsons, my wife and I are unhappy to think such a thing could have happened. But whatever his future, Ovidu Balan certainly has his fifteen minutes of fame.
A solid adaptation of Le Clézio's short story
leather-79 August 2005
Mondo is based on a short story by French author J.M.G. Le Clézio. The story is the first in a collection of stories about children. In each narrative a child is in some way alienated from the dominant culture while at the same time embodying something that this culture is missing.
In Gatlif's retelling, Mondo is alienated by the busy consumer society of Nice, France: he is always hiding from city officials who try to arrest him and he feels ill-at-ease in the bustling downtown area. He makes his home among the other marginalized Niçois: the homeless, foreigners, gypsies, etc. Gatlif artfully frames the life of Mondo and his friends and makes the viewer feel sympathy for society's rejects.
Gatlif shows how Mondo changes people who let him into their lives while demonstrating the blindness of government agencies that deal with stray children.
An excellent film. Even my children love it.
In Gatlif's retelling, Mondo is alienated by the busy consumer society of Nice, France: he is always hiding from city officials who try to arrest him and he feels ill-at-ease in the bustling downtown area. He makes his home among the other marginalized Niçois: the homeless, foreigners, gypsies, etc. Gatlif artfully frames the life of Mondo and his friends and makes the viewer feel sympathy for society's rejects.
Gatlif shows how Mondo changes people who let him into their lives while demonstrating the blindness of government agencies that deal with stray children.
An excellent film. Even my children love it.
beautiful
Rogermex25 August 1999
This film is a must-see, like Gatlif's Latcho Drom. It is poetic, cinematically poetic. There are several moments that brought me to tears, out of the sheer beauty of the human emotion expressed in acting and photography. "Acting" does not sound right - you have the impression you are watching real people living out love in their actual souls.
A celebration of the senses
KobusAdAstra25 September 2016
This little-known film turned out to be a gem.
Mondo is a young vagrant boy living in Nice. He is free-spirited, joyful and does what he wants, with nobody telling him what to do. He would spend time walking the streets of Nice, go for a swim in the sea or join a lonely fisherman on the pier. Mondo is mostly met with a lot of goodwill. He would get cuts of freshly baked bread from the kind lady at the bakery, or fresh fruit from the open-air market. Mondo has many friends; we see him joining a beggar who has a suitcase with two beloved white doves, and meeting a busker whose effort he assists by passing his money collecting plate around. Then there is the childless Vietnamese lady who takes Mondo in and cares for him when he falls sick.
The antagonists in the story are 'welfare' officials who are out to capture Mondo and take away his freedom. In a disturbing allegory we witness how other officials catch stray dogs to take to the pound. Would Mondo escape the officials and retain his freedom?
Mondo seems mythical; he may not even be real. The film subtly compares the cost of conformity with that of freedom and individuality.
This film superficially may seem to be thin on the plot, but believe me, it is not a simple as it seems. Watch it carefully; it has a lot to offer below the surface.
This film speaks to the senses. The sound of a knife cutting through a crusty loaf of bread, the soothing splash of swells lapping against the side of a boat. Excellent cinematography accentuates the visual. A few memorable scenes: Rainwater collecting on a water-lily leaf; a wet but seemingly happy Mondo sheltering from the rain whilst a bedraggled and soaked dog in the next scene looks everything but happy; an insect moving to the sheltered side of a leaf as the rain continues. A small boat pulling against its mooring in the ebb of the tide. And then there is the surreal scene of oranges, with messages written all over them, washing up onto the beach. The attention to detail is remarkable. The soundtrack is excellent too.
'Mondo' reminds me of the importance of appreciating the world around us for what it is, uncluttered by preconceptions or indifference.
The young actor who plays Mondo, Ovidiu Balan, does so with distinction. The performances by the other actors (Philippe Petit, Schahia Aalam, Pierette Fesch, Jerry Smith and Maurice Maurin) are excellent too. The director, Tony Gatlif must be commended for producing this rewarding and splendid meditative work of art.
I score 'Mondo' a well-deserved 9/10.
Mondo is a young vagrant boy living in Nice. He is free-spirited, joyful and does what he wants, with nobody telling him what to do. He would spend time walking the streets of Nice, go for a swim in the sea or join a lonely fisherman on the pier. Mondo is mostly met with a lot of goodwill. He would get cuts of freshly baked bread from the kind lady at the bakery, or fresh fruit from the open-air market. Mondo has many friends; we see him joining a beggar who has a suitcase with two beloved white doves, and meeting a busker whose effort he assists by passing his money collecting plate around. Then there is the childless Vietnamese lady who takes Mondo in and cares for him when he falls sick.
The antagonists in the story are 'welfare' officials who are out to capture Mondo and take away his freedom. In a disturbing allegory we witness how other officials catch stray dogs to take to the pound. Would Mondo escape the officials and retain his freedom?
Mondo seems mythical; he may not even be real. The film subtly compares the cost of conformity with that of freedom and individuality.
This film superficially may seem to be thin on the plot, but believe me, it is not a simple as it seems. Watch it carefully; it has a lot to offer below the surface.
This film speaks to the senses. The sound of a knife cutting through a crusty loaf of bread, the soothing splash of swells lapping against the side of a boat. Excellent cinematography accentuates the visual. A few memorable scenes: Rainwater collecting on a water-lily leaf; a wet but seemingly happy Mondo sheltering from the rain whilst a bedraggled and soaked dog in the next scene looks everything but happy; an insect moving to the sheltered side of a leaf as the rain continues. A small boat pulling against its mooring in the ebb of the tide. And then there is the surreal scene of oranges, with messages written all over them, washing up onto the beach. The attention to detail is remarkable. The soundtrack is excellent too.
'Mondo' reminds me of the importance of appreciating the world around us for what it is, uncluttered by preconceptions or indifference.
The young actor who plays Mondo, Ovidiu Balan, does so with distinction. The performances by the other actors (Philippe Petit, Schahia Aalam, Pierette Fesch, Jerry Smith and Maurice Maurin) are excellent too. The director, Tony Gatlif must be commended for producing this rewarding and splendid meditative work of art.
I score 'Mondo' a well-deserved 9/10.
Wow!
cmmescalona13 January 2010
I can't review Tony Gatlif's films without some bias. I was absolutely blown away by Swing. Mondo is, actually, a different world. Of hues, colours, dreams and a very powerful story. Maybe one with which I feel deeply related to.
Mondo could be an angel fallen form heaven. His relationship with Nature and all of its signs and sounds is as if he's part of a different world than any populous city. There's no way to know where he comes from. He could be a Gypsy, but he's not. He could be a homeless boy. But, alas, he's not. The story told by Gatlif here is one of redemption from this world. We pretty easily outgrow any capacity left in us to wonder, to imagine, to admire the world as it is. We, as denizens of any big and dehumanised society, become simple followers of a fate that is not devised by our own means, it is a fact of life. A mere realisation that we are in a merry-go-round that eventually will stop. In the meanwhile, we'd just cling on to it and, one day, let go.
Immersed in a world of haste and worries where a simple smile could move our lives into a deep understanding of ourselves, we choose not to. We choose to live it as it comes, no questions asked. And emptiness fill our souls, our hearts, our feelings, that are reduced to shyness, to duress or insensibility.
Mondo creates joy around him, because of his smile, his ways, his angelic power to touch souls and make them see the light. Mondo is not human. He even may not be real at all. But Mondo is here to remind us of the many missing things that make our lives, sometimes, empty, inconsistent and superficial.
Tony Gatlif is a master working with children. His Gypsy friends and actors are truthful to his otherworldliness. Mondo is the boy we all need to be reminded that growing up doesn't mean being stupid. And he's the soul to many. He reaches within and without whoever he touches with his smile.
Nice is portrayed as the soul-splitting cacophony of modern life, where Mondo always finds a way to connect with what matters for the soul. His life, a metaphor of a stray dog's, is transformed many times in front of our eyes in the life of a dog.
The execution of this film is flawless. The music is, as it always is with Gatlif's films, superb. Acting is magnificent, and Mondo is one of those roles played by non-actors that will be remembered for a long time.
By the way: someone pointed out that the nude scene of Mondo is out of place. If you watch the film and feel uncomfortable by this, you may not be normal: that is as significant as the other tens of clues Gatlif gives us to understand what he's trying to convey with the story.
A ten out of ten. Hey!, and don't miss Swing, another beautiful story.
Mondo could be an angel fallen form heaven. His relationship with Nature and all of its signs and sounds is as if he's part of a different world than any populous city. There's no way to know where he comes from. He could be a Gypsy, but he's not. He could be a homeless boy. But, alas, he's not. The story told by Gatlif here is one of redemption from this world. We pretty easily outgrow any capacity left in us to wonder, to imagine, to admire the world as it is. We, as denizens of any big and dehumanised society, become simple followers of a fate that is not devised by our own means, it is a fact of life. A mere realisation that we are in a merry-go-round that eventually will stop. In the meanwhile, we'd just cling on to it and, one day, let go.
Immersed in a world of haste and worries where a simple smile could move our lives into a deep understanding of ourselves, we choose not to. We choose to live it as it comes, no questions asked. And emptiness fill our souls, our hearts, our feelings, that are reduced to shyness, to duress or insensibility.
Mondo creates joy around him, because of his smile, his ways, his angelic power to touch souls and make them see the light. Mondo is not human. He even may not be real at all. But Mondo is here to remind us of the many missing things that make our lives, sometimes, empty, inconsistent and superficial.
Tony Gatlif is a master working with children. His Gypsy friends and actors are truthful to his otherworldliness. Mondo is the boy we all need to be reminded that growing up doesn't mean being stupid. And he's the soul to many. He reaches within and without whoever he touches with his smile.
Nice is portrayed as the soul-splitting cacophony of modern life, where Mondo always finds a way to connect with what matters for the soul. His life, a metaphor of a stray dog's, is transformed many times in front of our eyes in the life of a dog.
The execution of this film is flawless. The music is, as it always is with Gatlif's films, superb. Acting is magnificent, and Mondo is one of those roles played by non-actors that will be remembered for a long time.
By the way: someone pointed out that the nude scene of Mondo is out of place. If you watch the film and feel uncomfortable by this, you may not be normal: that is as significant as the other tens of clues Gatlif gives us to understand what he's trying to convey with the story.
A ten out of ten. Hey!, and don't miss Swing, another beautiful story.
A quality film well worth seeing, but you need to pay attention.
davematt145323 July 2004
This film is similar to "The Sixth Sense" in that what you see is not what is reality. The ending is truly enlightening and makes the entire film come together. Of course I will not reveal the ending.
Pay attention to the early scenes. However, I didn't see the necessity of the nude scene in the middle of the film, nor the Muslim correlation.
But regardless, a quality film. If purchasing, beware of the edited versions and ensure you are purchasing the uncut version.
The acting is of high quality and the character development is first-rate. We truly feel the emotional attachments of the principals and also that of the bystanders who really contribute to the story line as did the townspeople in "The Emperor's New Clothes"
Pay attention to the early scenes. However, I didn't see the necessity of the nude scene in the middle of the film, nor the Muslim correlation.
But regardless, a quality film. If purchasing, beware of the edited versions and ensure you are purchasing the uncut version.
The acting is of high quality and the character development is first-rate. We truly feel the emotional attachments of the principals and also that of the bystanders who really contribute to the story line as did the townspeople in "The Emperor's New Clothes"
Poetry in a motion picture
p.newhouse@talk21.com27 February 2017
Warning: Spoilers
Mondo is a poem about the missing ingredients of life, how we replace them, and what happens when we lose them. The traveller, a nameless boy of about nine years old, arrives in town, unaccompanied. He is looking for parents, and wanders up to strangers, asking if they want to adopt him. He observes the treatment of strangers in this new land he has come to. He expects no help, but he stays. He remembers nothing before he came to this new land. This is the story of him in this new land, and his impact on it. Very lyrical piece telling a powerful, compelling story of the human condition, and of love, loss, and life. The fantastic central performances prove that beauty, poetry, pain, and love, can co-exist perfectly and eloquently on film.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
