Based on the real mountaineer and author of the book. While the film depicts events from his book (expedition, escape, time in Tibet, friendship with Dalai Lama), it notably downplays/omits his documented membership in the Nazi Party and SS.

Peter Aufschnaiter was Harrer's real expedition leader and companion who also escaped to and lived in Tibet. His presence and role alongside Harrer are historically accurate.

The film portrays the real 14th Dalai Lama (Tenzin Gyatso) during his youth. His depicted friendship and tutelage under Harrer are based on Harrer's own accounts and acknowledged by the Dalai Lama himself.

Ngawang Jigme was the real governor who surrendered Chamdo to the invading Chinese forces. The film's portrayal reflects the controversial historical accounts of his actions during the invasion.

Pema Lhaki appears to be a fictional character created for the film, likely to add a romantic element and represent Tibetan local life and culture through her interactions with Harrer and Aufschnaiter.

This character represents the real office of the Regent who governed Tibet during the Dalai Lama's minority (likely Taktra Rinpoche during this period). The character embodies this historical role.

Harrer did escape from a British POW camp in India, though the details in the film are likely dramatized for cinematic effect. The specifics of the escape route and challenges faced are hard to verify completely.

Many accounts suggest Harrer was initially ambitious and driven, focused on his climbing achievements. While the degree of his arrogance is subjective, it's generally accepted he wasn't a particularly enlightened individual at the start.

Harrer's journey was arduous and challenging, but the film condenses and dramatizes the timeframe and specific dangers encountered. The film simplifies the complex logistics and hardships involved in the actual trek.

The core of the film focuses on this relationship, and while some liberties are taken, it's generally considered a good representation of their bond. The film captures the essence of their evolving connection and mutual influence.

The film portrays the Dalai Lama as intelligent, curious, and playful, which aligns with many accounts of his personality. While some dramatization is inevitable, the portrayal is considered reasonably accurate.

Harrer was indeed part of a small group of Austrian climbers who were in India when World War II broke out.

The film depicts the Chinese invasion and its impact on Tibet, although it simplifies the complex political situation. The basic timeline and the consequences for Tibet are generally accurate.

Harrer did contribute to some modernization efforts in Lhasa, particularly in areas like road construction and introducing Western ideas. But, the film exaggerates the extent of his influence.

The film portrays Chinese officials as largely one-dimensional villains. This lacks nuance and historical context, contributing to a simplified and biased view of the complex Sino-Tibetan relationship.

Harrer did leave Tibet after the Chinese takeover. The film's depiction of his departure is generally consistent with historical accounts, although the emotional weight may be amplified.

It's likely Harrer interacted with the Dalai Lama's family, given his close relationship with the Dalai Lama. The specifics of these interactions as shown in the film are difficult to verify definitively.

While the idea of introducing film to Lhasa is plausible, the specific details of the 'cinema' depicted in the film may be embellished for dramatic purposes. The extent and nature of such a project are uncertain.

The Dalai Lama has consistently expressed an interest in Western culture, science, and technology. The film's portrayal of this aspect of his personality is accurate.

The film suggests the climbers were escaping the war, which is partially true. While they were in India at the outbreak, their motivations for being there were primarily climbing-related, not directly war-related escape. The film simplifies their circumstances.

The film attempts to portray Tibetan culture, but some aspects are simplified or romanticized for a Western audience. While it captures some elements accurately, others are presented in a way that may not fully reflect the complexity of Tibetan society.