Disappointing but earnest translation of Afghan American author Khaled Hosseini’s best selling novel to the screen ultimately fails because it tries too hard to be exact.  The success of moving a good book to the screen often depends on the filmmaker’s choices of when to make the project its own work instead of striving for a very literal transplant.  In addition, Kahlid Abdalla as the central character of Amir simply does not arouse empathy.  Though the story is essentially about redemption for past sins, Amir neither sought nor truly embraced the opportunity for it.     

Well intentioned and certainly watchable, the film traces events beginning in the 1970’s in Kabul, Afghanistan, when the Taliban were rising to prominence.  Amir’s pain owing to his betrayal of his childhood friend and servant Hassan followed him to California, where he fled with his wealthy father to escape the reign of terror.  Many years later he is called upon for help. 

Wisely, the screenplay by David Benioff leaves out the bizarre twist near the end of the novel when Hassan’s betrayer, Amir, returns to Kabul to save the kite runner’s son from brutal and sadistic treatment by a Taliban chief.  The book had this childhood bully turn out to be descended from a German Nazi.  This melodramatic turn almost ruined a fine book; what does the film in is its lack of genuine feeling.  The result is a sentimentality that comes across as lacking credence and emotional power. 

Though the nuance of the book simply is not triggered on the screen, one significant redeeming quality is the casting of actors from that region of the planet, and speaking in the native languages of the characters. Another is several fine performances, notably from Homayoun Ershadi (A Taste of Cherry) as Amir’s father Baba.  The lavish widescreen cinematography (shot in China) parades sparkling blue skies and sunny hillsides that reveal a pre-war Kabul not seen by American audiences and lend an air of fable to the tale.  Perhaps that is how it is best viewed.