‘Unmistaken Child’ is a Lantern delight

When a film tackles a subject that is central to a culture’s religious essence, it’s hard to judge it objectively. Case in point: “Unmistaken Child,” a documentary about the ostensible reincarnation of a Buddhist lama that opens Friday at the Magic Lantern .

The film is made well enough, boasting passable cinematography, pacing and narrative sense. And it immerses the viewer in a process, the finding of a holy man’s reincarnated self, that hasn’t been widely studied.

Oh, there was Bertolucci’s film “Little Buddha” of 16 years ago. But then that movie starred Keanu Reeves. So enough said there.

This film, which was directed by Israeli filmmaker Nati Baratz, follows the Buddhist monk Tenzin Zopa. It was Tenzin who, after having been the disciple of Geshe Lama Konghog, was assigned to find – according to Budhist dictates – the child who was Geshe’s reincarnated self.

So, yes, Baratz follows Tenzin as he talks to his superiors, gets clues as to the child’s location (his father’s name begins with “A,” etc.). Some of these clues come from what most of us would consider strange sources: the shapes in Geshe’s cremated ashes, for example.

Thus prepared, Tenzin goes out in the country. He talks to people, stays in their houses, meets and plays with and talks to a number of boys. And when he finally finds a viable candidate, he gives the boy the initial tests (does the boy like the late Geshe’s prayer beads?) before accompanying him back to his superiors for even more tests.

Throughout all this, Naratz’s camera is right there, honing in on Tenzin’s movie-star face (this guy should star in more movies), showing his tender sides (crying as he visits his former teacher’s now-deserted retreat, playing with and caring for the boy he finds) and giving us close access to every aspect of the overall story.

How you react to the film overall likely depends on your own spiritual inclinations. In some cultures, tearing a child – a toddler, essentially – away from his parents could be considered abuse. Yet the boy’s parents, though profoundly moved, do so willingly.

And who’s to argue that they aren’t right? If you’re able to withhold judgment on “Unmistaken Child,” and accept it as a cultural study, you might find it fascinating. I certainly did.

Go here to read an interview with Naratz about the making of his film.