The Kite Runner -- the film, retains the basic structure of Hosseini masterful novel -- the three acts, in the pre-Soviet invasion Afghanistan, the Afghan-American community in exile and the protagonist Amir's journey back to his country during the height of the Taliban rule. And it is full of some magical kite flying scenes.
"I grew up in Kabul and the central image of my childhood is the kites that we flew during those cold, freezing winters," says the author, father of two young children. The Hosseinis live in the Bay Area, but the author has never flown kites with his children.
"It meant something different," he says referring to the time when he used to fly kites as a child. "If even for a moment I think of myself as being a kid in Kabul, in the 1970s, before the Soviet invasion -- it was a very different country then, a more innocent time. And certainly it was more peaceful."
The other theme that was crucial to Hosseini's novel and is alive in Forster's film is the internal journey of the film's flawed protagonist, Amir. Hosseini defines Amir as an anti-hero who is weak, tentative and uncertain.
"He does morally reprehensible things to people who loved him unquestionably and unconditionally," Hosseini says. "But he also had to be vulnerable, fragile and sympathetic in a way. No one wants to read about a bad person. He is flawed like you or I are. But he is ashamed and very self critical. We want him to do better and we want him to atone for his misdeeds."
In the past few weeks Hosseini has attended a few screenings of The Kite Runner with the Afghan community in the US. And the reactions have been positive.
"I think it is a significant cultural moment for my community," he says. "People feel represented. They see their own stories, their own hardships, problems, tragedies, customs and happiness on the pages of this book and now in the film."
There are some Afghans who have criticised Hosseini for writing about issues, that could be best left unsaid -- issues such as that of ethnic tensions in Afghanistan. But he feels strongly that writers and filmmakers should not shy away from issues that shape and define a society in transition.
"It is important for us to bring up issues that make us uncomfortable and open a dialog and critical discussions," he says. "But a lot of the criticism of the film from some people in the Afghan community is preemptive. They have not seen the film. They need to see the film and realize its overall message of love."
In the picture: (From Left to right) Khalid Abdalla as Amir and Ali Danish Bakhtyari as Sohrab.
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