Osama

The use of Afghan culture as a medium for the commentary this film delivers shouldn't be misinterpreted. While it does serve to educate the viewer about the violent impact of religious fundamentalism and the raging inequality of conditions women have faced in Afghanistan, it also teaches the lesson of what happens when an individual defies the established rules of sexuality, a lesson that can be as relevant in Ohio as in Afghanistan. Osama is not just a girl, but a girl who masquerades as a boy in order to survive; the torment she endures in return is not just a demonstration of the cruelties of of fundamentalist Islam, but the cruelties of society as we know it.

Barbarism is not confined to any people, any nation, or any religion, and it would be a grave mistake to misinterpret (whether accidentally or otherwise) the aim of such a poignant film. Osama is skillfully produced and acted, and serves as an artful and immersive vessel for its sentiments.

I'm not going to give an account of the plot of the movie, which according to some other reviewers on this forum--and I may add that I agree with them in words--is very simple. The simplicity of the brutality that was brought upon the Afghan people by the Taliban of course does not need many words to convey. Everyone who has heard of the words "oppression," "religious extremism," and "brutality" can give an account of the dreadful reign of the Taliban over Afghanistan. So, I'm totally amazed by the, dare I say, shallow perspective of some reviewers here that take this simplicity as a weakness of the movie. I don't think that the simplicity and/or familiarity of the plot tells *anything* about the strength or the weakness of the movie, nor does it decrease the gravity of the story.

Another alleged weakness of the movie I wish to dispel is its slow pace. I hardly see why that could be regarded as a weakness when in all its seconds the movie is conveying so much (visual) emotion and from such a close shot. You get to see the real--as far as my experience goes--behaviour of the mullahs, the real mechanisms by which they take hold of the vortex of power in such a war-ridden land.

On a slightly different note, I was quite surprised to read the feature review on the first page of the movie info, Eyal Philippsborn write "was it the setting or did the Taliban also banned the building of houses with roofs?" well, was it the setting or the catastrophes of about 30 years of civil war and social chaos, Eyal?

Another expressed criticism I read in the previous reviews was that such deep and engulfing sense of misery cannot possibly be the truth. This is an attempt to reduce the level of the movie to some sort of intellectual propaganda. I have to completely disagree. For two reasons: first of all, in the limited time-span of a movie, one cannot possible hope to see all aspects of life. The director has to choose what s/he wants to show and convey, and quite understandably this movie is about the plagues brought upon an entire nation by the Taliban. And secondly, even though the movie mainly focuses on the miserable life of its characters in such surrealistic-to-the-western-eye settings, it does show tiny glimpses of the beauty of life: the lullaby that the grandma sings to put the little girl to sleep, or the joyful, threatening Espandi (the boy with the smoking bucket of wild rue [Epand in Persian or Dari]) who turns into a supporter of the little girl when she's overwhelmed by the aggressive, intrusive boys in the Taliban's Quranic school.

I'm not an expert on the more techy parts of the movie-making business, but as an avid movie-goer, I could not pinpoint any particular weakness in terms of camera-work, plot, etc. I tend to think that the complaints the movie receives on these aspects is a more-or-less direct result of a state of being spoiled by the glamorous Hollywood-driven movie industry.

The only real drawback to the movie was its subtitles. Eyal also noted in the above-mentioned feature review that the opening quote of the movie was obviously--and I think unnecessarily--altered in the caption. The real quote is by Ali Shariati, the celebrated idealogue of the Islamic Revolution in Iran--who died before he could see it happen--which says: "[Oh, God,] Put me among those who give away their worldly desires for their religious one, not those who give away their religious desires for their worldly ones." This is turned into a concise quote by Mandela instead: "I cannot forget, but I can forgive." Not the same thing at all, and I'm not really sure I would say implying the same thing either. The quote by Shariati is in fact very suggestive, and ambiguous in the context of the movie.

Finally, yes, the movie is grim, and hard to take, but far from dull or artificial. Overall, Osama is a big step into the real examination of the misery of a people who have been deprived even of a glimpse of a normal life by the almost cosmological forces of the international politics.

A powerful and disturbing film of what life was like under the oppressive Taliban rule. Maybe because the cast are not actors and it starts with a boy talking to the camera as if it's a documentary being made it feels like what unfolds is actually happening and this makes it a very real and chilling experience. A film that should be seen.(8/10)

The film felt like a documentary - it was simple and straightforward. "Osama" captured many aspects of what life is like during Taliban's occupation, through the eyes of a 12-year old Afghan girl, within 1 hr. 22 mins. - it's more than most Hollywood movies manage to get across in 2 hrs. For a debut feature, w-d Siddiq Barmak delivered a quietly poignant film - it may not be evident at first impression right after seeing the film with the sadness and injustice it burdensomely carries. As I was re-telling the film's plot to someone who missed the showing, it came to me how succinctly the film tells/exposes what the women and children, and men, had to tolerate under such atrocious regime. The poverty level and misfortunate situation/predicaments are almost unspeakable.

The portrayal of Osama by Marina Golbahari is impressive: the bewilderment and fear on her face, the rare break into a smile we get to catch, her wailing and cry and crying - mostly delivered in a speechless manner. The other child actor, Arif Herati, who played the one who tried to shield her from trouble by the other boys, gave a brief but convincing Espandi. There's also Osama's mother and grandmother, and the neighbors, and the men who were 'helpless' in spite of wanting to help - the roles and scenes are all touchingly stirring. There are suspenseful moments and one wonders what would happen next - outcome could be predictable yet its share of drama and humanity lessen not. As a relieving contrast, a coming of age boys lesson in a Turkish bath setting was included - suspense and intrigue a-mixed. Barmak gave us a well-paced film, missing not a chance to provide insight to the cultural aspects of the people.

"Osama" brings to mind other similar 'hard medicine' films: Iranian director Jafar Panahi's `The Circle' 2000 (aka "Dayareh"), is the empathetic telling of the mistreatment/misfortune of four women in an unsympathetic society; director Michael Winterbottom's docudrama `In this World' released through 2003 Sundance Series, gave us an unflinching look into 'human cargo smuggling' of an Afghan refugee, 16-year old Jamal, with the persistent slim hope of a better livelihood in Britain; Xavier Koller's `Journey of Hope," the 1991 Academy Award's Best Foreign Film, is a heartbreaking tale of enduring/diminishing hope.

On a different note possibly more hopeful, though family poverty, hardships of Afghan refugees and girl posing as boy to obtain work are still the ingredients, we have "Baran" 2001, another worthwhile filmic experience from Iranian filmmaker Majid Majidi ("Children of Heaven" and "Color of Paradise".)

In Afghanistan, during the Taliban regime, women are forbidden to work and to walk on the streets without the company of a male. The teenager girl Osama (Marina Golbahari) cuts her hair and dresses like a boy to get a job and support her widow mother and grandmother. There is no men in her family, since her father and her brother were killed in previous Afghan wars, and the family has no means of survival. When Osama, disguised as a boy, is called by the Taliban to join the school and military training, the boy Espandi (Arif Herati) tries to help her.

"Osama" is a spectacular film, based on true events, and the interpretation of the amateurish cast is so perfect that sometimes the movie looks like a documentary. It is amazing how different from Western cultures is the life, religion, streets, houses of the Afghan people, and how repressed the women are in this evil system. Although being aware of many atrocities of this fanatical power, through articles in newspapers and magazines, this movie is so real and impressive that makes the viewer feel in the skin the difficulties of the life of this poor people. This is the first film made in Afghanistan since the fall of the Taliban. In accordance with the interview of the director Siddiq Barmak in the Extras of the DVD, Marina Golbahari was accidentally discovered four days before the beginning of the shootings. The girls had never watched a movie in a theater, and did not have a TV. Two days before the beginning of the shootings, Barmak met Arif Herati, and decided to create a special character for him, not foreseen in the original screenplay. The boy requested the director to buy his dogs to accept the invitation. This movie was awarded many international prizes, among them the Golden Globe (Best Movie),Golden Camera (Cannes Festival) and Best Movie (London Festival), and certainly deserves to be among the IMDb Top 250. My vote is ten.

Title (Brazil): "Osama"