It seems that a canonical event for everyone in their childhood is the discovery of Mount Everest, which is one of the earliest encounters we have with the grandiosity of the natural world, not only because of the metaphorical implications that come with the idea of summiting the tallest mountain in the world, but also simply the fact that it is viewed as a monumental achievement that very few have actually been able to complete. This year in particular is considered a minor landmark for those who attempt to climb the mountain, since recent statistics indicate that the number of people who have reached the summit has now exceeded one thousand, which sets a new record that has only steadily been growing over the years. However, before it became a more widespread activity, there was a time when it was still viewed as entirely unsurmountable, with many trying and failing to reach the peak. The person who changed this – or at least the one who is often cited as being the valiant and dashing adventurer to conquer this mountain and prove that it could be done – was Edmund Hillary, who became the mascot of the 1953 effort to reach the summit, the man who braved the harsh conditions and proved that tenacity and skill are all it takes to achieve the most ambitious of goals. Time has not been particularly kind to the idea that he was the only person who warranted this praise, since it was actually Tenzing Norgay, the Sherpa mountaineer who accompanied him on the journey to the top of Mount Everest, who was the integral key to the success of this mission, his knowledge of not only the region but also his ability to handle the difficult conditions and various other challenges were the reason they reached the peak. His story has now been dramatised in the form of Tenzing, a fascinating if not slightly conventional biographical drama directed by Jennifer Peedom that attempts to peel back the layers on a famous story, presenting it from a perspective that may be different, but is far more accurate in both factual detail and underlying meaning.

One of the more positive changes that has come with the ongoing popularity of the period drama genre is that history has a tendency to be revisited more often than not, which allows stories to be reassessed and new perspectives to be explored. The first successful expedition to the peak of Mount Everest took place over seventy years ago, and, astonishingly, it took so long to actually get a film that deviated from the usual practice of positioning Hillary as the primary force behind the mission, rather than highlighting the invaluable contributions made by Norgay throughout the efforts to reach the top of the mountain. Tenzing presents itself as quite a traditional biographical account of the titular character’s life, being mostly set in 1953 as Norgay is selected to be a part of the mission, with occasional flashbacks to his childhood, which serve to contextualise his journey as being one to which his life always seemed to inevitably be leading in some form, his desire to prove his skill contrasts sharply with the often more calculated approach being taken by the people in charge of the mission, leading to the expected clash between experience and ambition. It is from this that Peedom and writer Luke Davies work to underline particular themes and ideas that relate not only to his part in this mission, but also serve as a cultural document of the Sherpa people, shown through the occasional inclusion of scenes that show the local population and their customs, which align neatly with the overall intentions of the film. It’s quite traditional, but it does offer fascinating insights into the lives of these people, whose rich, complex culture is given the appropriately meaningful exposure it deserves, all filtered through what is evidently aiming to be a far more engaging affair than just the run-of-the-mill adventure drama that we usually come to expect when this subject is being discussed on screen.

In order to bring the nuances of this film to life, it was very important that the right people were cast in the central roles, with the part of the titular character being perhaps the most vital to get right. Logically (as a result of the industry being far more aware of how essential it is to find the most appropriate actor for any given role), the role of Tenzing was given to Genden Phuntsok, a relative newcomer who has only done a couple of films beforehand, both of which were in his native Tibet, but despite being almost completely unknown to international audiences, he immediately establishes himself as a very promising actor purely on the strength of this performance. The entire premise behind the film is to be a layered portrait of this ambitious young man who has not been forgotten by history (thankfully, his contributions to the expedition were so valuable that he simply could not be entirely erased from the story, and his name is still very much associated with the mission, even if the original historical discussions made it seem like he was more on the periphery rather than inarguably the most vital part of the entire endeavour), but who still warrants so much more attention for his ambition and expertise that ultimately proved to be the reason the mission succeeded. Phuntsok is a tremendous actor, bringing so much heart and soul to the performance, and essentially carrying the film almost entirely on his own, which is not an easy feat considering he is working alongside some intimidatingly notable actors. The part of Edmund Hillary is brought to life by Tom Hiddleston, who brings the appropriate level of charm and valour to the part of a man who has always been seen as the guiding force behind this mission, when in reality he was only one member of a larger team, while Willem Dafoe is John Hunt, who led the expedition, being as captivating as ever in a scene-stealing supporting part. Much of the film’s most exciting moments put Phuntsok and Hiddleston together, and the bond formed between these two characters is only strengthened by both actors committing entirely to their respective parts.

For those who are immersed in the world of contemporary documentaries, Peedom should be a familiar figure. For more than a decade, she has directed some remarkable films, almost all of which centre around individuals attempting to navigate hostile natural conditions, with her focus being on the positioning of humanity in contrast to the impossible strength of the world that we believe we can conquer without realising the sheer might that exists in nature. Tenzing is her first narrative film, and it’s a subject that is quite close to her heart, having directed that fascinating Sherpa, which was also an examination of the Sherpa people and their experiences navigating Mount Everest over time. We find that this is a remarkably well-directed film, evidently made by someone who is not afraid to brave certain challenging conditions in pursuit of telling a conventional story. The performances are very good, but it is Peedom who is the main attraction here, her assured direction being a remarkable departure from the industry’s tendency to cut corners when telling these stories. Filmed primarily on location in the region (with some gorgeous scenes taking place in both Kathmandu and on Mount Everest itself, which has never looked more beautiful in a narrative film than it does here), there is a clear effort being put into accuracy when it comes to this film, which functions as a far more nuanced approach to the subject matter, rather than just another attempt to capitalise on the audience’s craving for an adrenaline-fueled adventure. However, it does have a few minor deficiencies – there is a concerted effort to make the film look and feel accurate in terms of representing the mission, but as a result it does fall into many of the same narrative traps in terms of its story structure and the underlying emotions, with many moments feeling like they’re bordering on cliché, which is to be expected, but it doesn’t distract from the excitement that comes with going on the journey with these characters.

Undeniably, history being corrected and explored more accurately is always welcome, even if it can sometimes be delayed. The principle of “better late than never” is often quite valuable in these situations, especially when it is handled by someone who isn’t intent on hyper-correcting for previous oversights, but instead just pursuing a more honest and realistic account of these events, which is exactly what drove Peedom to craft Tenzing in a very particular way. Ultimately, the director did have the challenge of telling a story that has an ending that we all know, which removes the suspense that would typically come with either a fictional story or one that isn’t this famous, and therefore she has to find elements that can still surprise us, while also telling the story as authentically as possible. Whether or not her chosen approach works is ultimately a matter of individual interpretation and depends entirely on how much we can appreciate many of the decisions made to bring this story to life. However, it is undeniable that what Peedom is doing here is more than just trying to make an adventure film; it is also to tell the story of someone who may not be unknown, but who certainly does deserve to be elevated above simply being a footnote, emerging out of the margins and instead being given the spotlight that his efforts warrant. The result is a very effective adventure drama that pays sufficient tribute to Norgay and his incredible legacy, while also ensuring that we are consistently entertained, engrossing the viewer in this fascinating tale of survival, defiance of the elements and the pursuit of a seemingly impossible goal, all of which come together to form the foundation of a fascinating and daring historical drama that entertains and informs in equal measure, never being anything less than a genuinely moving experience from start to finish.