Osama

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".)

There is no need for me to rehash the plot of this film. Many others have done that.

It is a harrowing experience. However, something occurred to me after seeing it. Given the inhuman treatment of women by the Taliban, why did it take the attacks of September 11 to finally have the US decide to remove the regime. Winston Churchill said that you could always count on the US to do the right thing, after it has done everything else.

That we (the US) should attack Iraq because our commander in chief didn't like them and they acted poorly towards his father, yet we refrained from doing anything about the Taliban until we were attacked, reflects very poorly upon us.

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 saw 'Osama' on the same weekend in which Afghanistan held its first-ever free elections. The contrast between that event and what we see in this film could not be more dramatic and striking.

This is the first film made in the country since the fall of the Taliban regime. It is a harrowing study of life under that brutal dictatorship as seen through the eyes of a terrified 12-year old girl. The Taliban considered being a woman as almost akin to sinning against God. As a result, women were not allowed to hold jobs, appear in public without male escorts, or show their face or any other part of their body when venturing outdoors. 'Osama' focuses specifically on the plight of war widows who were virtually forced into starvation as a result of these draconian rules. The film tells the tale of a young girl whose mother loses her job at a local hospital. To provide food for the table, the mother and the girl's grandmother devise an extremely dangerous plan to pass the youngster off as a boy, thereby allowing her to work as an assistant to a sympathetic shop owner. Even though the penalty is death if she is caught, the young girl reluctantly accedes to the plot. When she is rounded up with the other local boys to begin a program of religious indoctrination and military training, she must expend a great deal of effort to prevent her ruse from being uncovered.

'Osama' is a short film, and it doesn't intend to do anything more than offer a very small glimpse into what life was like under this tyrannical regime. In that respect, the film provides an invaluable service to those of us in the West who find it hard to believe that such mind-numbing ignorance and cruelty can still exist in our modern world. We see it, of course, every night on the news, but until an artist can translate it into recognizable human terms, the reality often doesn't hit us in the way that it should. 'Osama' really brings it home to us. Through our experience with these characters, we come to understand how unutterably hopeless and miserable life can be for people trapped in a culture defined by a pre-scientific mindset of irrational bigotry and superstition. The girl, who is dubbed by one of the other characters 'Osama,' is no plucky little heroine who takes on the Bad Guys, indifferent to the dangers she is facing.

She is a passive victim living a life of paralyzing fear, a perfect symbol for all the other women of her country who were consigned to a similar fate.

Writer/director Siddiq Barmak has employed non-professional actors to bring the tale to life. All of them do a remarkable job, especially young Marina Golbahari, who captures the wide-eyed terror of her character with vivid exactness. Golbahari becomes such an empathetic figure that her plight is understandable to any person from any culture.

'Osama' is like one of the early works from the school of post-war Italian neo-realism: small, unadorned and devastating in its simplicity and humanity.