He takes a moment to think.

“And it so happened there was one of those Hindus standing next to me who you meet all the time over there: the kind who wear old-fashioned spectacles, speak perfect English with a Welsh accent, and never tire of explaining their culture to you whether you’re interested or not. And he told me that, properly understood, the priest officiating at the sacrifice was Brahma. Also, the fire was Brahma. Also, the god to whom the sacrifice was directed was Brahma. And also, the sacrifice-the goat-was Brahma. And Brahma was life itself, the whole cycle.”

He stops to close his eyes in concentration, then swallows and begins where he left off.

“And in that tiny moment I understood. I understood how easy it is for a Westerner to play the priest, the god, the fire-anything but the goat. As Brahma, in other words, we are inauthentic; the big joke is that everyone else knows it except us. Let’s face it, we much prefer to sacrifice others. Our extreme-you might say homicidal-aversion to pain and suffering makes us the ultimate apostates in the business of life, and this was what was making me so unhappy as an artist and as a man. I never really got to the ecce homo moment, when I might have stepped forth from the stone they made me out of. I guess an awful lot of men feel that way in their hearts at the going down of the sun, but I’m one who couldn’t give up the struggle, though I tried to suppress it for thirty years and produced a whole bunch of schmaltzy junk in the process. So, for better or worse, this is me. Enjoy.”

It is one of those movies which begin at the end of the story, then show you how everything has led up to the present moment. After the beginning, which is also the ending, we find ourselves in Kathmandu seven or eight years ago. It is possible to tell the age of the footage by reference to the body weight of the director, who is also the male lead. Here he is in his fifties, but looking quite a bit younger. Beardless, smooth-faced, handsome; he has about him the bounce, the enthusiasm of a much younger man. He is also smiling a lot as we follow him around Kathmandu. There is a light in his face which might be a form of insanity; the mountains seem to have gotten to him the way they got to me: that sense of landing in the cradle of consciousness itself. There’s no doubt about it, that is a very attractive man, glowing with a kind of metas, or “loving-kindness,” which has nothing to do with Buddhism, but is part of his natural state. Perhaps he doesn’t know it, but it is that inner glow of his which has brought him success in life-and right now has brought him all the way to the Himalayas.

I am surprised at how early in the film Tara appears. It seems she is the liaison at the agency he is using for local support for his film. We see her by way of interpreter, using her UN English to listen to the famous Hollywood director, then translating back into Nepali and Tibetan. There is a silver vajra hanging on a simple nylon string around her neck. The director explains that he wants to do some filming up near the northern border, maybe even cross over into Tibet if he can get a visa from the Chinese. She explains that conditions are very harsh on the border, which is fifteen thousand feet high. People get altitude sickness at that level. And there is the problem of China itself. They do not much like Americans with movie cameras on the loose in Tibet.

The scene shifts to the mountains. We are very near that high border with Tibet; the landscape is unremittingly barren, with vast flat areas of purple shale fading into gray glacier and then snow. The shale fields aside, nothing is horizontal; mountains rule wherever you look. And up here our director-hero isn’t looking so good. If he is not holding his head he is holding his stomach. He has almost no energy and even talks in slow motion. The only cure is to go back down a few thousand feet and wait for his body to adjust. But he is an impatient American, he won’t wait. Anyway, he has only so much funding and he cannot afford a break in shooting.

These scenes take place in the presence of the supporting cast and others on the team. From time to time the camera focuses on the other actors, all of whom seem to be ragged Tibetans from the highlands. Unlike the director, they are unaffected by altitude or delay and seem unlimited in their capacity to hang out. Tara here is not merely an interpreter of words, but also an interpreter of men. She is suddenly the central figure, helping the Tibetans to understand the director, and insisting at the same time that the director try to understand the Tibetans. “But they’re all so damn spiritual in the way they think, it’s hard to get a practical idea across,” he complains, only to receive a lecture from Tara to the effect that he isn’t going to get anywhere if he doesn’t show more respect and sensitivity. Sure we don’t think like you, she seems to be saying, and there’s a damned good reason for that: we know better. Eventually things reach a point where the director is too ill with altitude sickness to work. If he doesn’t get out of the mountains within the next twelve hours he risks brain damage and death. Now we accompany him on the back of a yak led by the Tibetans, with Tara walking by his side.

The shots here are deliberately reminiscent of Jesus riding a donkey on the way to Jerusalem. We see from his face and posture that he really is very ill, and it is in this paranormal state that most of the rest of the film takes place. We enter flashbacks within the main flashback, but the collage is cleverly executed so the device does not intrude; on the contrary, the way he cuts scenes of his childhood with flashes of him in the Himalayas is brilliant.

But it’s a strange kind of brilliance; you might call the whole movie the product of plagiarism taken to the point of genius. At some point in the editing he must have decided that the film would not go on general release, and therefore he was released from any need to obey the law of copyright. As a consequence he does not merely imitate, but blatantly cuts in whole scenes from other movies; for example, the mountains are often invoked by retro shots of James Stewart hanging in space in Vertigo. He even manages-and here we cannot deny his eccentric gift-to lift scenes from Truffaut in the original French, without jarring the viewer. You could say one of the subplots is his own obsession with cinema, which is almost pathological.

As the journey down the mountain progresses, however, with Tara walking effortlessly beside him as he’s slumped over the yak’s neck, we realize in the subtlest possible way that the incomparable Tara (we have already seen her remove her prostheses from her fingers: one of the many things about her, along with her vajra, over which the camera obsesses) is slowly but surely replacing film itself as his control center.

I think that to convincingly show a man dumping the obsession of a lifetime for a woman he has only recently met must be very difficult. Frank Charles succeeds only because he is telling the truth: this is exactly how it happened, one has no doubt about that. But his problem is that carnal desire competes with spiritual thirst: he yearns for her with every chakra, but especially the second. (The crotch chakra, farang.) And so it is in this near-death fragmented state on a narrow track in the high Himalayas that we are shown the various strands of personal history that have made the man. We see the barrenness of his early life in the Midwest, where his family owned a hardware store. His father is largely ignored; we focus on his Italian mother, from whom he inherited his Latin good looks and his passion; she is portrayed as an exotic Mediterranean songbird trapped in a utilitarian cage. We see him as a kid masturbating in protest against the uncompromising vacuum of a world filled with nuts, bolts, and screws, DIY and plumbing accessories, welding torches and huge stainless-steel hoppers for seed. We see him retreat into film, which can only be viewed in theaters in those distant days. He almost takes up residence in the town’s only cinema.