Les Cerfs-volants de Kaboul

I recently was lucky enough to see "The Kite Runner" in a small theater, surrounded by seasoned movie-goers who knew how to enjoy a masterpiece of such sophistication. With all the controversy surrounding this film's central scene these days, I was expecting a piece both crude and violent. But the way Mr. Forster handled the delicate subject was touching and really, deeply moving. Even though the film's credits indicated China as the main location for the shoot, I could have sworn I was seeing Kabul throughout the scenes which are meant to be taking place in Afghanistan. The acting, by non-professionals as well as professional actors, is excellent and the casting is magnificent. So, this is a movie I would see again and again, because though it is undeniably sad in its subject, the masterful way it has been made awakens a whole new hope in modern cinema.

After seeing the prosthetic legs dropping from the sky by parachute in Kandahar (2001), one of the most memorable images in all of cinema, I wondered why there weren't more stories coming out of such a tumultuous country, tied to Americans forever by 9/11. And now I think I know why.

Such a beautifully-wrought adaptation of the wildly-popular novel of the same name, The Kite Runner is a model of fine film-making in almost all respects except one: It's too pat. So maybe Charlie Wilson's War will show me that films about Afghanistan will not revolve around formulae and clichés.

The redemption of the protagonist, Amir (Khalid Abdalla), has been told forever in literature and film, just not in Afghanistan. So no matter how tear-jerking the film may be, it is still a story told many times of a man who commits an egregious sin as a child but redeems himself in the end with an act of courage. Meanwhile, director Marc Forster and screenwriter David Beniof lace the film with the major motif, kite running, to such an ingenious extent that it not only ties in the hero's youth with his maturity, it also provides a figurative way of showing the desolation and hope of the country mixed of course with contradictory elements such as cutting string and blessed artificial legs.

Thus the film as metaphor is a success in showing the dismal past of a struggling country and its hopeful future. The cinematic images also emphasize this duality: The vistas with snow capped mountains and endless plains deflect the vision of a barren land where trees that manage to grow have been cut down by invaders, in this case 1979 Russia. The titular activity flourishes in large part because the arid, stony land offers few other possibilities. When the land is revisited in 2000, the limited country seems almost completely bereft of color and resources, a gray prison that parades adulterers to be stoned in the soccer stadium and little boys abused by an out-of-control Taliban.

But true to the formula, Amir has a second chance. I hope Afghanistan shares a similar fate.

"The Kite Runner" is one of the most controversial films of the year, and it's not just one of those controversies invented by PR people to sell tickets. No, this is a film that was actually pulled from release because the producers began to fear for their safety of their actors. That may give you an idea of just how sensitive and topical some of the material is. "The Kite Runner" is an important film for our modern world, because now more than ever, we need stories that show the reality of war, not just action movies that glamorize the violence. It was adapted from the best-selling book, and some critics have charged that something was lost in translation, but if you don't bring the baggage of the novel into the screening, you will be very moved.

In the 70's in Afghanistan, the Pushtun boy Amir (Zekeria Ebrahimi) and the Hazara boy Hassan (Ahmad Khan Mahmoodzada), who is his loyal friend and son of their Hazara servant Ali (Nabi Tanha), are raised together in Amir's father house, playing and kitting on the streets of a peaceful Kabul. Amir feels that his wise and good father Baba (Homayoun Ershadi) blames him for the death of his mother in the delivery, and also that his father loves and prefers Hassam to him. In return, Amir feels a great respect for his father's best friend Rahim Khan (Shaun Toub), who supports his intention to become a writer. After Amir winning a competition of kitting, Hassam runs to bring a kite to Amir, but he is beaten and raped by the brutal Assef (Elham Ehsas) in an empty street to protect Amir's kite; the coward Amir witness the assault but does not help the loyal Hassam. On the day after his birthday party, Amir hides his new watch in Hassam's bed to frame the boy as a thief and force his father to fire Ali, releasing his conscience from recalling his cowardice and betrayal. In 1979, the Russians invade Afghanistan and Baba and Amir escape to Pakistan. In 1988, they have a simple life in Fremont, California, when Amir graduates in a public college for the pride and joy of Baba. Later Amir meets his countrywoman Soraya (Atossa Leoni) and they get married. In 2000, after the death of Baba, Amir is a famous novelist and receives a phone call from the terminal Rahim Khan, who discloses secrets about his family, forcing Amir to return to Peshawar, in Pakistan, in a journey of redemption.

I am not familiar with the Afghan culture and I did not read this novel in spite of the recommendation of my daughter, and yesterday I decided to watch this movie on DVD. I found a good story of loyalty, cowardice, betrayal and redemption, with a brief insight in the recent history of Afghanistan, from a peaceful period in the 70's to the present days with the Taliban. The actors and actresses have great performances, giving credibility to the realistic story. The arid locations in China recall the images we see in television from Afghanistan. In the end, I found "The Kite Runner" a good movie. My vote is seven.

Title (Brazil): "O Caçador de Pipa" ("The Kite Chaser")

Greetings again from the darkness. Based on the mega-best seller from author Khaled Hosseini, the film provides us a peak at the ugliness of post-Russia invaded Afghanistan and the terror of the Taliban. Director Marc Foster adds a gem to his resume, which already includes "Monster's Ball", "Finding Neverland" and "Stranger Than Fiction".

The story of young friends Amir and Hassan and the unknown bond they share into the next generation. This is a story of honor and courage and loyalty and is an unusual coming-of-age tale. Some great scenes of the boys when they are kids and then a couple of truly amazing scenes as Amir returns as an adult to find Hassan's imprisoned son.

This is tight, compelling story telling with a message. The acting is solid throughout, with no one actor stealing the screen. Although not a pleasant story to watch unfold, it is certainly meaningful and heart felt. Plus a quick shot of Midnight Oil playing in the pool hall is a welcome gift.