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Osama
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Osama, directed by Siddiq Barmak, is the first film shot entirely in Afghanistan since the rise and fall of the Taliban, and it’s a heartbreaking look back at life under that regime. It’s about a 12-year-old girl, played by a marvelous nonactor, Marina Golbahari, who is disguised as a boy by her mother, a widowed nurse, so she can work to support the family. (The Taliban has ordered all women indoors.) For a while, she pulls off the ruse, working in the grocery store of a family friend. But when she is herded into the local Taliban school, her terror becomes palpable. A cocky local street kid knows her secret—it’s he who calls her Osama—and, between taunts, defends her; but it is only a matter of time before she is found out. Osama could be a stand-in for an entire generation of suffering Afghan women, and yet she is fiercely individual.
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By this act of his Osama has ... made any act against him to be an act of war against the entire Muslim community worldwide. By this he has in fact fired the first psychological shot of his fight with the West (rather Rest - of the world). Any act of the West against him will now be looked upon by the Ummat (global Muslim population) to be a signal for waging a Jang-e-Jihad (Holy War) against the non-Muslims.
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As an adolescent, Osama had almost no contact with women. He overcame his shyness and learned to make friends with young men outside the family, who knew or cared little about the taunting he experienced at home. He became friends with several of King Fahd's sons, with whom he enjoyed many adventures in the countryside. He ... picked up their attitudes toward women as objects to be enjoyed for recreational purposes and as status symbols. He was educated at home with private tutors, along with his brothers and sisters. He was a bright child, and was eager to excel in school work, including Islamic studies and memorizing large passages from the Koran.
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Following attempts on his life in 1997, Osama has become more concerned about his own safety than before, and he now moves between 4 or 5 camps near Kandahar. This has resulted in a great suspicion towards anyone outside the group of his closest comrades.
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Osama opens with ‘The Wherewithalll’, a track that mixes elements of hard progressive rock with mysterious vocals and then breaks into spoken word segments that include references to such things as rare guitars and Keiji Haino, among others. ‘Der El-Bahri from the Air’ features one of Shalabi’s other projects, Poseidon Council, taking the lead on this incredible psychedelic pop piece. It features vocalist Billy Mavreas sounding quite a bit like solo-era Syd Barrett and some incredible guitar soloing, as well as cat sounds. The recording’s closing and golden moment is the incredibly beautiful seventeen minute epic, Guantanamo Bay, which begins with an eerie similarity to Soft Bulletin-era Flaming Lips. Once again the blissful pop elements fade and dissolve into layers of sound. This track builds into an incredible crescendo driven by static, brushes, crackles, noise and the distant sound of muffled epic soundtrack music.
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Osama represents the first Afghan film shot entirely in Afghanistan since the fall of the Taliban. And it represents only one of forty short or feature length films to come out of the country in the last 100 years. Thus, the film is a landmark achievement in many regards. First, there's absolutely no question that it comes as the result of a great sacrifice. Many women and children suffered and died under the discriminate and violent practices of the Taliban regime, and many will continue to be psychologically affected in the future. Inspired by their stories, director Siddiq Barmak pieced together a very powerful and original film.
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Osama