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user\nCan a film be too faithful to the book upon which it is based? Judging from the time-spanning 2007 adaptation of Khaled Hosseini's huge 2003 seller, the answer is rather ironically \"yes\". Like many, I was enthralled by the book, an impressive first effort by the Afghan-American writer/physician. So obviously were director Marc Forster (\"Stranger Than Fiction\") and screenwriter David Benioff (\"Troy\"), who pay meticulous attention to the most significant details of the story within the film's 127-minute running time. Yet, the seamless tapestry of heartfelt events in Hosseini's novel often comes across as episodic and truncated because Forster and Benioff are sincerely trying hard to remain true to the full scope of the story within the time constraints. Part of the challenge is how Hosseini carefully used symbolic acts to provide literary, then-and-now symmetry to what is essentially a three-act story, a technique that can come across as somewhat contrived on screen.
However, the filmmakers do the most important things right, specifically giving the viewer an intimate look into a hidden culture heretofore conveyed through CNN news reports, ensuring authenticity by having characters speak in the Dari Persian dialect of the Afghan language, and capturing the emotional entanglements of the complex narrative. The first part of the movie is set in 1978 Afghanistan before the Soviet invasion and the eventual takeover of the Taliban. The focus is on the relationship between Amir, the son of an affluent businessman named Baba, and the devoted Hassan, the son of his father's servant. Connected by their mutual love of kite running, the two are thick as thieves until a tragic event separates them irreparably. Unable to find the courage that comes so naturally to his father, Amir is crippled by guilt for not having rescued Hassan from an unspeakable act performed by a trio of local bullies. Forster makes especially palpable the ethnic tensions between the Hazara and the Pashtun in Afghanistan.
Upon the 1979 invasion by Soviet troops, Amir and Baba flee to the U.S. where the story picks up their story nine years later in Fremont, California, a suburban enclave of Afghan émigrés. Baba is reduced to working in a gas station and operating a flea market kiosk. Amir meets a local Afghan girl and marries. This is the film's least interesting passage since Benioff's treatment gives short shrift to ancillary characters like Amir's wife Soraya and most critically, Amir is portrayed by necessity as a reticent young man with a downward cast toward his self-esteem. The final section flashes forward twelve years where Amir, upon publication of his first book, is summoned back to Taliban-dictated Afghanistan to rescue Hassan's son from the Taliban, as a means to atone for his cowardice years earlier. There is true suspense and fear generated in this portion of the story as shocking revelations and old acquaintances come back to haunt Amir during his journey.
A British actor of Egyptian heritage, Khalid Abdalla (the lead hijacker in \"United 93\") has the central role of Amir as an adult, a challenging role since he has to convey a constant sense of shame and diminished self-worth until the end. The other professional actors fare better - Shaun Toub (Tony Stark's savior Yinsen in the current \"Iron Man\") as Baba's business partner Rahim Khan, who holds the key to the truth; Atossa Leoni quietly affecting as Soraya; and best of all, Iranian actor Homayoun Ershadi who brings pride and dignity to Baba. Three young non-professionals were recruited from Kabul's school system to play the key child roles, and all are quite good. Zekeria Ebrahimi is up to the challenge of the toughest part as young Amir, and Ali Danish Bakhtyari is poignant as Hassan's nearly catatonic son Sohrab. But it's the sad-eyed, moon-faced Ahmad Khan Mahmoodzada who will break your heart as the young Hassan, especially in the devastating pomegranate-throwing scene. It's fair to say his performance is on par with the young Enzo Staiola's in Vittorio de Sica's classic \"Bicycle Thieves\".
The technical aspects are well done, in particular, Roberto Schaefer's clean cinematography (western China convincingly substitutes for Afghanistan), Alberto Iglesias' evocative score, and even the CGI effects showcasing the kites in turbulent flight. The 2008 DVD has a solid set of extras beginning with an insightful commentary from Forster, Hosseini, and Benioff, although some of their dialogue seems rather forced. There are two featurettes included - the first is the 14-minute \"Words from the Kite Runner\", which focuses on Hosseini's connection to the story and the development of the novel, and the second is the 25-minute \"Images from the Kite Runner\", a more standard behind-the-scenes look at the production. Rounding out the extras are the original theatrical trailer, a few previews, and a PSA from Hosseini on how to help the Afghans during their current time of need.
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