Project-Blu The Kite Runner, by M. Enois Duarte

The Kite Runner

By: M. Enois Duarte, 3.15.2009

The Movie Itself:

"I feel like a tourist in my own country." ~Amir

Simply put, The Kite Runner is the sort of cinematic experience we don't see often enough. It's a film that relies entirely on its story of redemption and absolution to draw the audience in and never let go. It also exposes an aspect of Islamic life we never see on screen or simply take for granted as ever existing --- before the Soviet invasion, before the Taliban, and before our nation's misconceived notions of a Muslim person. Marc Forster (Quantum of Solace) and screenwriter David Benioff provide a marvelous rendition of Khaled Hosseini's novel that is as emotionally harrowing and authentically poignant as its source.

The film's narrative is essentially told in three fragments, with the final act functioning as a convergence point of the past, present, and future. We start with a flashback of the protagonist's youth in 1978 Afghanistan only a year away from war, at a time when the country seemed more spirited, fruitful and democratically hopeful. Best friends Amir (Zekeria Ebrahimi) and Hassan (Ahmad Khan Mahmidzada) run through the streets of Kabul, sharing their love for kite flying and the excitement of chasing down the kite after it's been cut. They are bonded together not only by their household, but also by their enjoyment of American films and Hassan's delight in listening to Amir's stories. Unfortunately, their bond is a fragile one.

It's made clear from the beginning that Amir is a very sensitive boy, feels emotionally distant from his father, Baba (Homayoun Ershadi), and carries the guilt of his mother's death at childbirth. Hassan is actually his loyal servant and protector, willing to do whatever Amir asks of him, even allow pomegranate fruits be thrown at him without resistance. But when given the opportunity to rescue Hassan from some neighborhood bullies (from an act so horrific, that it's hard to imagine any child capable of it), he turns and runs the opposite direction, revealing the political ethnic tensions and class differences between the prosperous Pashtun people and the oppressed Hazara minority.

The cowardice that eats away at Amir turns into anger and hate towards Hassan, pushing him to commit another act of betrayal which permanently fractures their relationship and haunts the other two sections of the narrative. It is to the great credit of these young actors and their remarkable performances that we become lost in the story, in the scenes that lead to this fateful event that changed the lives of their characters. Watching their convincing portrayals, it's surprising to know they've never acted before, and yet their participation in the film has been at the cost of their safety and relocated by the producers to the United Arab Emirates.

When the Russians invade Afghanistan, Baba and Amir emigrate to America, where he graduates from college, finds love in Soraya (Atossa Leoni) and becomes a published author. In the third and final section, adult Amir (Khalid Abdalla) is offered the opportunity to redeem himself of the sins he committed, or as Rahim (Shaun Toub), Baba's old friend, puts it, "There is a way to be good again." Unexpected surprises urge Amir to rescue Hassan's orphaned son, Sohrab (Ali Dinesh), from the abuses of a Taliban official and raise him in America. This second chance to move from cowardice to courage is one man's personal journey through self-discovery. And we become a part of it and engrossed by it, as he regains his faith and his sense of nationality.

Although much of the novel's complexity has been removed to accommodate the film's two-hour runtime, Amir's dilemma between grasping a cultural identity and his sense of "Otherness" is preserved, however understated. Forster's direction is restrained and distant, making for a melancholic, somber impression and the more effective for it. Attention is placed on scenic views of Afghanistan before and after the devastation caused by war, which in its own way reflects Amir's inner struggle. His conventional approach constructs a powerfully moving portrait where we quickly forget we're watching Arab-Moslem life and only see the humanity in the actions of children and the consequences they suffer.

Set against the backdrop of Afghanistan's last two decades of violence and uncertainty, we witness a man deal with the emotional conflicts of betrayal, remorse, displacement, and deliverance. It's only through this journey that he comprehends a father's words of there being "no act more wretched than stealing." And The Kite Runner is a conversation through various aspects of that universally pregnant thought.
Rating: 9/10

The Presentation:
Framed in its original 2.35:1 aspect ratio, this AVC-encoded transfer displays an immaculate and resplendently beautiful video presentation. The picture seems to have been shot with an amber filter, as it is consistently golden and warm in appearance throughout. Primaries and secondary hues are accurate and resolute, if only moderately influenced by the intentional coloring. Brightness and contrast are also somewhat affected by this, looking slightly dull and marginally obscuring details in the shadows during nighttime and low-lit interior scenes. Daylight sequences, however, showcase a great deal of clarity and definition. Pores and textures in facial features and clothing are revealing, while panoramic shots of Afghanistan can be extraordinary and gorgeous. Pebbles scattered throughout the Afghan desert are unmistakable and the weathered exterior of buildings are well detailed and perceptibly aged.

Despite a few minor drawbacks, The Kite Runner arrives on Blu-ray with a beautiful film-like image and a wonderful depth of field. The intentional photography of Roberto Schaefer is well maintained here, perfectly complimenting the film's subject matter.
Rating: 9.1/10

Paramount offers a Dolby TrueHD track that easily trumps its DVD counterpart with a marvelously warm audio quality, which places more attention on its musical score to engage the audience than explosive action. Instruments are clearly distinct and distinguishable within the mix, spread across the entire soundstage with remarkable dimensionality. Dynamic range offers an appreciable and immersive experience, filling the room with music, and bleeding into the rear speakers, convincingly enveloping the listening room area. The LFE-channel was adequate to those scenes which required it, without being overwhelming, but added a nice palpable rhythm to the orchestration. Discrete effects are far and few, but when in use --- particularly during the kite tournament --- sound travel into the background and pan between the channels smoothly.

The Kite Runner is a film driven by its characters and their interactions, and this lossless soundtrack wonderfully represents the film's sound elements.
Rating: 8.5/10

Overall Presentation: 9/10

The Extras:
Paramount Home Entertainment releases The Kite Runner for the first time on Blu-ray and ports over the same supplemental package as the DVD releases. Bonus material is all presented in standard definition, except for the Theatrical Trailer.

Audio Commentary
Director Marc Forster is joined by screenwriter David Benioff and author Khaled Hosseini.
Words from The Kite Runner (15 min)
On adapting the novel for the screen.
Images from The Kite Runner (25 min)
Behind-the-scenes feature of the film's production.

Rating: 4/10

Final Thoughts:
The Kite Runner is an emotionally poignant film which relies purely on its story than well-known actors or thrilling CGI action. The film's narrative themes of redemption, guilt, and absolution are inspiring and stirring. This Blu-ray edition of the film showcases a wonderful video and audio presentation that is sure to please fans.
Rating: 7/10