In which I'm surprised by my capacity to be surprised

When Catherine Hardwicke’s “The Nativity Story” was initially released my interest was mildly piqued. Keisha Castle-Hughes was the unforgettable lead in one of my very favorite movies, “The Whale Rider,” and the incomparable Shohreh Aghdashloo (I always have to check to make sure I have enough H’s in there) was cast as Elizabeth.

I never got around to seeing it. But it was on TNT tonight, and since I was pinned in place by a large and contented cat, I decided to watch. My gamble paid off in unexpected ways. Seems I'm not as hopelessly jaded as I thought -- a realization which I find quite embarassing.

The production design is gorgeous. There is a very gritty, textured feel to it, fitting the film’s focus on the human, the quotidian. This Mary, while she may soon be the mother of god, still has to sow seed in the fields and draw water from the well. She has actual conversations with her mother, and her father has a place in the community. (Give yourself a cookie if you immediately remembered that their names were Anne and Joachim. You paid attention in religion class!) We see the structure of their houses, the shape of their pottery, the details of their clothing and their tools. It really is marvelous to look at.

It is this focus on the human and the historical, rather than the mystical or mythological, that makes “The Nativity Story” worth watching. It hews to the conventional tale of the Annunciation and the Nativity in form (gauzy angel, gentle cows, a manger), but those are background details. The real narrative interest in Hardwicke’s take is in the way Mary’s acceptance of her role is shown to be a decision made by a clear-headed young woman who understands the social consequences, and who respects her parents but also expects them to listen to her. And this Joseph is a far cry from the mushy cipher we’ve long been given; here, he is compassionate, aware, pragmatic, and committed to the unconventional parenting arrangement foisted upon him. Oscar Isaac memorably embodies this noble yet very human husband and father, giving him a solidity and individuality we haven't seen before.

The script places all of the familiar events squarely in the context of the political atmosphere of the era, reminding us that these characters live in a time of difficulty and uncertainty. Even the magi are drawn as individual personalities responding to unusual events, and -- upholding one of Roger Ebert's criteria for believable drama -- not acting as though they've already seen the end of the movie.

Unfortunately the score does not serve the film well, especially in the final act when it anachronistically and jarringly deteriorates into a fitting background for a Hallmark TV special. But that is a minimal complaint when stacked up against the film's success in turning a time-worn tale into a fine character study and engrossing historical drama.

Also, the donkey gives an excellent performance, and is adorable as heck.