The Movie That Got Martin Scorsese and Harrison Ford Banned from China—Here’s Why!

In an unlikely turn of events, director Martin Scorsese and actor Harrison Ford found themselves both banned from entering China due to the same film—a film Ford wasn’t even in, but whose ripple effects extended far beyond the screen. While the two Hollywood giants had never worked together, they were both declared persona non grata by the Chinese government, drawing a bizarre yet significant connection between the two icons.

The Common Denominator: Kundun

The film that caused this stir was Kundun, Scorsese’s 1997 biographical drama about the life of the 14th Dalai Lama, Tenzin Gyatso. The film, which was written by Melissa Mathison, Ford’s wife at the time, explores the Dalai Lama’s exile from Tibet and his interactions with the Chinese government. The movie was a passion project for Mathison, who was known for her activism in support of Tibetan independence—a stance that drew the ire of Chinese authorities.

While Ford was not part of the cast, his connection to the film through Mathison was enough to place him on China’s no-entry list. The film’s portrayal of the Dalai Lama, combined with Mathison’s vocal pro-Tibetan independence activism, resulted in Scorsese and Ford both being caught in the political crossfire, despite Ford never stepping foot on the set.

A Personal Connection to the Dalai Lama

Scorsese’s involvement in Kundun began after he met the Dalai Lama himself, although their first extended meeting was not until the film was already in pre-production. As Scorsese recounted to Film Comment, he visited Mathison and Ford’s Wyoming home, where the Dalai Lama was staying. “I went to visit Melissa and Harrison Ford at their house in Wyoming with Barbara De Fina and other associates of mine,” Scorsese recalled. “The Dalai Lama was also there with his retinue, and we talked for two days.”

During this meeting, Mathison and the Dalai Lama discussed specifics about his life and experiences, ensuring accuracy in the portrayal of his journey. This intimate involvement with the Dalai Lama was always going to provoke strong reactions from China’s political leaders, who view the Dalai Lama as a figurehead of anti-China sentiment and a symbol of Tibetan independence.

The Fallout with Disney and China

As the movie’s release approached, Kundun became a source of tension between Disney, which had developed growing ties with China in an effort to tap into the lucrative market, and the Chinese government. In response to mounting pressure from Beijing, Disney attempted to downplay the movie’s significance, rolling it out in a limited release—only two theaters on Christmas Day in 1997. Disney’s damage control efforts, however, did little to appease the Chinese government.

As then-CEO Michael Eisner later remarked, “The bad news is that the film was made; the good news is that nobody watched it.” Eisner’s comment reflected the company’s strategy to distance itself from Kundun in order to preserve its relationship with China. Unfortunately, despite Disney’s attempts to bury the film, Kundun flopped at the box office, failing to garner significant viewership, and the fallout was far-reaching. Both Scorsese and Mathison’s activism, along with Ford’s connection to the project, resulted in them being banned from entering China.

A Legacy of Artistic Resistance

The banishment of Scorsese, Ford, and Mathison from China is a curious chapter in Hollywood history, illustrating the intersection of art, politics, and international diplomacy. While Kundun may not have been a commercial success, it sparked important conversations about Tibet and the relationship between art and censorship, especially in the context of powerful nations like China.

Ultimately, the film’s banishment may have been an unintended badge of honor for Scorsese, Ford, and Mathison. Their involvement in the project, regardless of its commercial reception, exemplified a commitment to truth and activism that went far beyond the typical confines of Hollywood filmmaking. It was a rare instance where the power of cinema collided with political interests, resulting in an enduring legacy of artistic resistance.