Review of Osama (2004) by Aliya D — 22 Jul 2008

Writer/director Siddiq Barmak made Osama in Afghanistan just after the Taliban fell from power. He employed a cast of non-professional actors and cinematographer Ebrahim Ghafori to weave this story of life under the oppressive Taliban regime.

Osama is a fictional story focusing on the plight of women under Taliban rule, and was inspired by real experiences in Afghanistan. A family of women who have lost their husbands and brothers in various wars struggle to make ends meet in a society that won't allow them to earn a living.

When the family's wage-earner (Zubaida Sahar) loses her job at a hospital that can no longer afford to pay her, she disguises her 12-year-old daughter (Marina Golbahari) as a boy so that she may find work and provide income for her family.

But complications ensue. Osama is the second film featuring the work of cinematographer Ebrahim Ghafori to have a US release. The first, 2001's Kandahar, also took place in Afghanistan and is remembered best for its striking use of simple composition and bold color.

Ghafori's recognizable style makes an impact once again in Osama. It seems that he's fast creating Afghanistan's image to the world. It's remarkable that such an impoverished nation could be so photogenic.

Having been inspired by real events and made by Afghani artists, I think it's safe to assume that the story of Osama is a realistic glimpse of working-class Afghani culture during the Taliban's reign.

And that is probably the film's greatest value. The title character is not strong or well-drawn. Young "Osama" is neither intelligent or stalwart. It would be a more engaging story if she were.

The director may be trying to make the point that these people are all victims, and I'm sure they are, but watching victimhood for an hour and a half leaves something to be desired. Strong characters and interesting adaptive behavior, for example.

The exception is an alternately annoying and charming street urchin named Espandi who is played by Arif Herati, a street kid himself. The boy's bold salesman personality jumps off the screen. Osama has the distinctly plodding pace that all films made in Afghanistan seem to have, which helps communicate this very foreign culture to frenetic Western audiences.

It's not boring so much as it is lulling. In spite of weak characterizations, Osama is a beautiful film that offers insight into an interesting culture at an unfortunate period in its history.