Drachenläufer

It’s one big merry-go-round of emotions that makes the viewer pull tissues out of boxes from the first to the last minute for both the happy and sad moments of human life. Fortunately, Marc Forster has it firmly in hand, so there’s no risk of the impression of flattering pandering and mechanical milking of tears. This is mainly due to the fresh-faced actors who went all out without having to look like a bunch of enthusiastic amateur actors who came to tell the "West" something important. Yes, the outcome of the Afghan mission after all these years is questionable, to say the least, but that doesn’t really matter when the rest of the film is entertaining almost the entire time. 4 ½. (26.05.2009)

I already expected a great life story from the premise. At the same time, I had no idea that Afghanistan was a relatively nice Muslim country in 1970s, where women were considered equal to men, and most importantly, you could see what a pretty Afghan woman looked like because women didn’t need to cover themselves up. The Kite Runner not only made me realize that but also offered a powerful family drama, that couldn’t be written by anybody else but fate itself. It is filmed in a very strange way and to be honest I was debating for a long time whether to give 3- or 4-star rating. But in the end, I had a hard time not to cry so I settled on four. The Kite Runner is a very good movie, with a few weaker moments. But the premise trumps everything with its realness. (06.06.2017)

Das Hauptproblem des Films liegt im Drehbuch, das Forster einfach nicht weiter sprichwörtlich ausfliegen lässt. Im Vergleich zum Buch wirkt natürlich alles komprimierter, prägnanter, jedoch vor allem leider auch oberflächlicher und amerikanisierter. Dem dramatischen Höhepunkt des Films fehlt es an Dringlichkeit und packender Natur der Vorbilder in Buchform, die Beziehungen der Charaktere verflachen und die Intimität des Erzählers und Lesers geht irgendwie verloren, wobei es Hosseini gelingen würde hiermit seinen Roman regelrecht zu umgarnen. Es ist schwer zu sagen, inwieweit es möglich war, irgendetwas damit zu machen. Doch selbst Forsters Regieführung ist überraschenderweise kalt und professorenhaft und entbehrt des einfühlsamen Interesses aus Wenn Träume Fliegen Lernen. Aber nicht um hier nicht zu beleidigen. Sogar die Hosseinis verwässerte Geschichte ist immer noch beeindruckend und magnetisiert dank ihrer der inneren Kraft. Besonders die schauspielerischen Leistungen des erwachsenen Amir und seines Baba erfreuen einen. Der Soundtrack des Spaniers Iglesias verfügt über die gleiche Kraft und Sensibilität wie seine Arbeit für Pedro Almodovar. Überraschenderweise gefiel mir der Drachenläufer am meisten in der mittleren amerikanischen Passage, der insbesondere Amirs Beziehung zu seinem Vater sehr exakt festhielt. Trotz einer leichten Enttäuschung bewerte ich Forsters Film dennoch insgemein positiv. (06.04.2008)

In principle, the plot is a trivial story of guilt, conscience, punishment, redemption and the power of friendship. What distinctively lifts the quality of the book version, apart from the narrating talent of Khaled Hosseini, is also the for us unusual cultural environment, stories inside stories, caste details, depiction of cultural differences and growing up on the background of hectic upheavals in Afghanistan and later in America. In other words, precisely the things in an adaptation that are in danger of being severely pruned or even figure among the first on the list of stuff waiting to be edited out... And that’s exactly what happened. Only a simplified skeleton of the basic plot remained, on its own completely trivial and an uninteresting. Just all set in attractive surroundings. So its exceptionality lies there. Even though David Benioff knew what he was doing at places when he found the courage to cut out whole last quarter of the original, as long story of a boy and how he was smuggled onto American soil and emotionally draining scenes involving suicide. On the other hand it would make the perfect tear drawing moments for the silver screen. The actors are precise most of the time, the children’s roles even perfect, but there’s a catch. The adult Amira. He is dull and completely without any spark and I didn’t believe a word he said, let alone his stare. And Marc Foster? Again exceptional, even though this time this playful artist keeps in the background most of the time and excels only in the ingenious airborne duels. So in the end The Kite Runner is all right as a movie, but a mediocre and needless adaptation. (10.02.2008)

I would gladly have blasted the film as an Oscar-winning ethnic warm-hearted gay pleasure cruise if I hadn't just a month ago listened to the stories of an acquaintance who had spent a year in Afghanistan. And that's why I appreciate a film that not only explains why the country is a barren dry yellow wasteland and the national pastime is to sit and stare straight ahead for five hours, but more importantly, explores the legacy of a once-proud nation without wiping its ass with the specifics and adapting them to Western perceptions. (21.05.2013)

Marc Forster tells a story about friendship, guilt, and a religion that has its own laws and rules – and he again tells it impressively and excellently. Following the excellent debut Monster's Ball, the equally excellent Finding Neverland, and the magnificent As Good As It Gets (I haven't seen Stay yet, but I'm going to), The Kite Runner is once again a near-perfect achievement, and one that shows particularly great directorial flair. I think we can still expect great things from Forster in the future and I hope my prediction comes true with a Best Picture Oscar-winning film :) (13.09.2009)