Buddha Collapsed out of Shame: charming child actors carry a bleak and pessimistic message

Hana Makhmalbaf, “Buddha Collapsed out of Shame” (2007)

Charming and delightful with two small child actors playing the main parts, this film carries a sombre message about the effects of grinding war and religious fundamentalism on ordinary people in Afghanistan. It shows how, far from liberating women and girls from the restrictions imposed by the former Taliban government, the US-led invasion actually helped cement the oppression of all females by making the country more unstable, driving people deeper into poverty and enabling the Taliban and similar groups to present themselves as fighters against the invading forces. By framing and presenting these issues in an ingenious way from the viewpoints of young children in the games they play, Hana Makhmalbaf, the daughter of Iranian director Mohsen Makhmalbaf, shows how the attitudes and prejudices of adults pass down to and are maintained and embellished by a new generation.

The film resembles a documentary in the way it shows scenes of the Afghan countryside: panning shots that emphasise its vast deserts and mountains, shots of farmers and shepherds at work, and in particular the scenes of the Taliban’s detonation of the Buddha statues at Bamiyan that bookend the movie. The scenery looks beautiful with stunning blue skies, wide brown plains and clear rivers that beguile viewers and leave them unprepared for the wretched conditions the local people live and work in. In the caves that surround Bamiyan lives a six year old girl Bakhtay (Nikbakht Noruz) with her family. When morning dawns, the parents have already left home and Bakhtay is left alone to care for a baby sibling. She hears the neighbours’ son Abbas (Abbas Alijome), about her age, reading aloud so she investigates and discovers he is reading from a book. Bakhtay is inspired to want to learn to read – she too wants to read funny stories about walnuts falling from trees and hitting grown-up men – so when Abbas and a shopkeeper tell her she needs a note-book and pencil for school, she zealously raises the money to buy the items by taking some eggs to the local market to sell. Selling the eggs turns out to be an ordeal but Bakhtay has just enough to get a note-book so she takes her mum’s lipstick to write with. From then on, it’s another ordeal for Bakhtay to go to the right school: Abbas takes her to his school but it’s a boys-only school so she must go off on her own. On the way, a gang of boys torments her and holds her hostage in a cave; after escaping, she must follow a river all the way to the school. The teacher and the girls at the school reject her and she is forced to leave.

Apart from some plot strands left dangling – once Bakhtay leaves for school, we see nothing more of the baby left at home – and various passages in the movie that could have been edited for length (some shots linger too long after they’ve made their point), “Buddha …” is well-made with a basic plot that moves at a steady pace. Simple, straightforward dialogue helps move the plot along yet successfully conveys Bakhtay’s feelings about the harrowing situations she must endure. The bullying she receives from both boys and girls can be painful to watch. Apart from the teenage stationery shopkeeper, most adults in the film appear uninterested in Bakhtay’s travails or refuse to help her; in an almost Kafkaesque scene, a traffic police officer cannot help her as his duties restrict him to directing invisible traffic; the teacher at the girls’ school boots her out because of the disruption she causes with her mother’s lipstick. All the obstacles in Bakhtay’s way as she struggles to kick-start her education are Afghanistan’s problems in miniature: Bakhtay’s foray into the local market, completely dominated by men, shows how much women are shut out of everyday life; the boys’ taunts and games centre around war and ethnic, gender and social divisions in Afghan society; the teacher’s reaction to Bakhtay shows the extreme fear Afghan women have of the Taliban and what they represent. The symbolism can be overdone and many scenes can have several interpretations that are equally valid and relevant to Afghanistan’s present condition and human society generally.

Noruz is appealing as the chubby-cheeked moppet who through sheer persistence and a chirpy nature overcomes a series of challenges that would make most adults faint: nearly being buried, kept in a dark cave, forced to wear a “burqa”, finding a seat in a crowded classroom only to be kicked back out. Bakhtay shows considerable cheek in leaving the baby at home, stomping around calling for her mum, intruding on adult men’s conversations and foiling the boy bullies’ schemes. Alijome is equally lovable as Bakhtay’s loyal friend who also suffers from the other boys’ bullying.

Ultimately though the film’s message is very bleak: Bakhtay is eventually forced to conform in a way that suggests all Afghans, male and female, no matter how spirited and determined they are, will be crushed under the extreme conditions of Taliban and warlord rule, if people inside and outside the country do not resolve to stop the war and force the withdrawal of foreign troops. Makhmalbaf takes no sides and the suggestion is that the Americans are as much to blame as the Taliban and warlords have been in perpetuating Afghan social inequities and suffering. Enterprise, individuality and integrity will falter under such a regime. Though the film pounds these and other points about Afghan society relentlessly, with ominous music to match, the heavy-handedness is balanced by the child actors’ charm and innocence and by the simple narrative which has many moments of humour. This is definitely a film for adults even though it’s dominated by children and their games and activities.

“Buddha …” was made by Hana Makhmalbaf when she was nineteen years old and is her first feature film. Her mother Marzieh helped to write the script and other members of her family also assisted with filming.

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