When a film called "Mongol" takes as its story line the formative years of Genghis Khan, a conqueror who eventually controlled a fifth of the Earth, you know what you'll be getting. But with this film you'll be getting that and more.

Yes, as directed by Russian veteran Sergei Bodrov, this film is not lacking in violence. Even before he went into full world-domination mode, the great Khan, known as Temudgin in his earlier days, had a habit of involving himself in armed conflicts large and small, events where swinging swords inevitably led to spurts and showers of vivid red blood.

But it wasn't the carnage that earned this project, made with the stately unhurried pace of old Hollywood, one of the five foreign-language Oscar nominations earlier this year. It was its epic imagery and the unexpectedly humanistic attitudes, at least as far as this film is concerned, of its protagonist.

As shot by Sergey Trofimov (who did the electric "Night Watch" for Timur Bekmambetov) and Rogier Stoffers, "Mongol" has a feeling for stunning vistas and wide-screen composition that is really something to see. Photographing in remote corners of China, Mongolia and Kazakhstan, the cinematographers offer gorgeous views of inhospitable deserts, grassy meadows and snowy steppes. Having hoards of determined horsemen cross and recross these expanses — the Mongols were legendary riders, after all — doesn't hurt one bit.

After a brief prelude set in the year 1192, which shows Temudgin inexplicably imprisoned in an Asian border town, "Mongol" heads to the past for an extended flashback starting 20 years earlier, when the 9-year-old Temudgin, in the company of his tribal leader father, is off looking for a young girl to be betrothed to.

Although his father has specific plans for this match, Temudgin makes a powerful connection with 10-year-old Borte and ends up outmaneuvering his dad and getting betrothed to the girl he wants. Terrifically played at this young age by Odnyam Odsuren, Temudgin is already a self-possessed little guy with a strong will.

It's a quality he's going to need, because Temudgin spends most of "Mongol" in a world of trouble. His father dies, a tribal rival spends years trying to kill him, and when he does reunite with Borte, more problems occur. Temudgin seems overmatched, but as the film's opening aphorism succinctly puts it, "Do not scorn a weak cub, he may become a brutal tiger."

Anchoring him and offering assistance through all these problems is Temudgin's powerful relationship with Borte. Their emotional connection and mutual respect is the film's central through line, leading to some unexpectedly affectionate moments and Temudgin's acceptance of her children by other men as his own.

Quite a guy, this future Khan.

Having Bodrov, who directed the excellent "The Prisoner of the Mountains" a decade ago, in charge here is an advantage. Although there is only so much any director can do with characters who are next door to mythic, Bodrov can do more than most, and it helps.

Although the key actors come from all over Asia, from the point of view of ability and attitude they are very well cast. Japan's Tadanobu Asano is appropriately indomitable as Temudgin, Mongolia's Khulan Chuluun matches him as Borte and China's Honglei Sun is strong as Temudgin's powerful blood brother.

In Mongolia, however, where the great Khan is a revered figure, people have not been so happy. A review in Britain's Sight & Sound reported that one Mongolian critic said, "It was as if a biopic of Abraham Lincoln had sported a Mexican and a Quebecker in the lead roles."

To Western eyes, however, this ethnic grab bag is just another element giving "Mongol" that old-fashioned studio picture feel that is always welcome.