Film Review: Little Buddha (1993)

The most successful film in the career of famed and sometimes controversial Italian film maker Bernardo Bertolucci was The Last Emperor, old school Hollywood-like epic that made bits of Asian history and culture comprehensible to Western audience. Seven years later, Bertolucci tried to do the same with his ambitious 1993 film Little Buddha, but the results, like with many film makers trying to repeat the formula that had worked once, were quite disappointing.

Film begins when group of Tibetan Buddhist monks led by Lama Norbu (played by Ying Ruocheng) leave their monastery in Bhutan and travel to Seattle. They aim to find a boy that could be reincarnation of Lama Norbu’s esteemed teacher Lama Dorje (played by Geshe Gjeltsen) who has passed away ten years ago. The candidate is Jesse Conrad (played by Alex Wiesendanger), 10-year old son of architect Daniel Conrad (played by Chris Isaak) and his wife, math teacher Lisa Conrad (played by Bridget Fonda). When Lama Norbu and other monks visit their home, Jesse’s parents are initially sceptical, but Jesse is enthusiastic about arrival of strange men in strange robes. Conrads allow Jesse to visit local Buddhist centre and there he learns about Buddhism through the story of ancient Indian prince Siddharta (played by Keanu Reeves) who 2500 years ago left his comfortable life in order to end world’s suffering, reach enlightenment and become Buddha. When Lama Norbu asks Conrads to bring Jesse to Asia where he would be examined by other Buddhist elders, Daniel agrees to accompany him. There Jesse meets two other candidates – Kathmandu street boy Raju (played by Raju Lal) and Gita (played by Greishma Makar Singh), young girl from rich Indian family.

Despite being an epic with budget of 30 million US$, Little Buddha was personal film for Bertolucci, very much like The Last Emperor. In that film Bertolucci saw opportunity to express or comment on his Marxist beliefs and the way they were implemented in, supposedly purest practical form, in Communist China. However, by the time of Little Buddha Cold War was over, most people believed in End of History and any alternatives to triumphant capitalism under benevolent hegemony of USA were seen as laughably obsolete, Chinese brand of Communism included. Like so many left-wing intellectuals, Bertolucci began to find alternatives to status quo in spiritual sphere and embraced Buddhism and the obvious purpose of this film was to explain its basic principles to non-Buddhist i.e. Western audiences. Little Buddha was also Bertolucci’s way of making amends for The Last Emperor, film that, in light of later events on Tien An Men Square, was seen as propaganda for oppressive regime whose best known victims, at least if average Westerner was concerned, were Tibetan Buddhists following failed uprising against Communist China in 1959. In 990s, when Hollywood wasn’t dependent on Chinese markets and Chinese capital hasn’t penetrated Western film studios yet, there was still opportunity for films critical of Chinese regime (like Seven Years in Tibet made few years later) and Bertolucci took it.

However, apart from few passing remarks about Tibetan Buddhists living in exile, there isn’t any explicit political content in Little Buddha. Bertolucci was instead used much of its talent to bring Buddhism and its teaching to the audience in simplest and most comprehensible form. The way to do it was to retell the story of Siddharta, which included spectacular reconstruction of ancient Indian city, good special effects and bright colours captured by famed cinematographer Vittorio Storaro. Keanu Reeves, Hollywood star that was often, especially in earlier part of his career, accused of wooden acting, is surprisingly effective in the role of iconic religious figure. This happens even despite large amounts makeup necessary for him to pass as ancient Indian and when his character transforms into Buddha near the end, the effect is quite impressive. Unfortunately, script by Rudy Wurlitzer and Mark People frames that fascinating story within more mundane, weak and unconvincing story that takes place in present day. Bertolucci had some good ideas, like confronting materialistic world of modern West, embodied in “hip” city of Seattle captured by blue and grey colours of Storaro’s cinematography, with spiritual East which is presented as warm. But they were still compromised by weak story, further compromised by introduction of two more reincarnation candidates that happen to be dark-skinned natives, like Bertolucci tried to preempt modern-day “woke” critics who would have mistaken Jesse for White Saviour. Script also fails to properly explain why would modern-day American family suddenly decide to indulge complete strangers in letting their child become object of their interest. Furthermore, cast leaves much to be desired, especially Chris Isaak for whom acting obviously isn’t his personal forte; Bridget Fonda, one of most likeable and charming actresses of her generation, is wasted in the underwritten role of his wife. The best part of the cast is Ying Ruocheng, wonderful Chinese actor who has played protagonist’s Communist mentor in The Last Emperor and his efforts do much to make Little Buddha watchable. Although the film gives interesting insight into Buddhist teaching, most audiences would become impatient because of slow tempo and those interested would be better served with a proper book or documentary.

RATING: 4/10 (+)

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