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To “Not Wait for the Archive” Is to Enter the River of Time Sideways, a Bit Unannounced, Much Like the Digital Itself Did, Not So Long Ago

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To “Not Wait for the Archive” Is to Enter the River of Time Sideways, a Bit Unannounced, Much Like the Digital Itself Did, Not So Long Ago mousse 34 ~ Afghan Films To “not wait for the archive” is to enter the river of time sideways, a bit unannounced, much like the digital itself did, not so long ago. (1) BY SHAINA ANAND & ASHOK SUKUMARAN, FAIZA AHMAD KHAN, MARIAM GHANI In 1996 the Taliban set fire to Afghan Film, the National Film Archives founded in 1968 that contained a fine collection of independently produced films and works from the Soviet Union, Iran and many Western countries. A small group of courageous employees managed to save about 6,000 reels of film. Today, thanks to the operation of restoration and digital transfer led by Mariam Ghani, Faiza Ahmad Khan and Pad.ma, this heritage can once again be fully accessed and appreciated. STILLS / ANNOTATIONS the girl to and from the celebration. The child’s- eye-view of the world offered byM anand Woqab is unsentimental, but always alive to the unexpected — 1960s beauty and wonder of the everyday made strange. Afghanistan: Land of Hospitality & Beauty documentary short — Between 1968 and 1972 Fashion show newsreel contrasting solutions are displayed in the film: one traditional, the beating of the fields by farmers with sticks, brooms, rakes and their own feet; and one modern, the spraying of pesticide from crop- dusting planes. No comment is offered as to which method ultimately proved most effective, though the first certainly looks more fun than the second. This film was made in the early 1960s (before the official launch ofA fghan Films) to promote tour- ism to Afghanistan, and features most of the fa- — 1965 mous beauty spots and historical landmarks in the Manand Woqab (Like the Eagle) This newsreel is not dated, but we can guess that country. The narration was written and performed fiction feature it was filmed between 1968 and 1972 because both by the poet Suleyman Layeq, who was the Director Prince Ahmad Shah, King Zahir’s son, and Nur of Information & Culture at the time, and later be- Ahmad Etemadi, Prime Minister from 1968-72, came the Minister of Radio and TV. In what would are shown in the audience. The fashion show was become the ‘house style’ of mixing fact and fiction, a charity event that took place at the Kabul Hotel, the two ‘American tourists’ in the film (shown vis- which was located in those days where the Serena iting markets, flying on Ariana Airlines, going on Hotel now sits. The wives and daughters of promi- picnics in Paghman, and taking photographs) are nent Kabulis participated as models in the show, actually played by the anthropologists Louis and and the fashions were meant to display the range of Nancy Dupree, who by that time were already fix- traditional and modern textiles and designs com- tures on the Afghan scene. The little joke played mon in Afghanistan at that time. In this particular by the film hinges on the fact that LouisD upree’s image, the model is wearing a suit made of karakul, book Afghanistan was the default reference for the wool of unborn lambs, which was for many historians and social scientists new to the region, years Afghanistan’s most prized export, and whose while Nancy Hatch Dupree’s guidebook was used Like the Eagle, directed by Fayz Muhammad international trade (spearheaded by financial mas- by most actual tourists visiting Afghanistan. Kheirzada, was the first feature film made entirely termind Abdul Magid Zabuli) served as the foun- in Afghanistan. It also can be pinpointed as the dation of Afghanistan’s modern economy. source of the Afghan Films ‘house style’ of wrap- — 1961 ping a fictional story around a core of documen- Locust Control tary footage. In this case, the narrative follows the — 1968 newsreel adventures of a young girl who runs away from her Talabgar (The Suitor) village in Paghman because she wants to see the fiction feature It is a common pastime in Afghanistan to blame ‘the jeshn (independence day) celebrations in the city neighbours’ for evils small and large. For example, of Kabul. The second act of the film is taken up by Talabgar was produced in 1968 and released in 1970 in this early newsreel, an infestation of locusts in footage of a real jeshn, including sightings of King as part of the three-part, three-director anthology the fields of southernA fghanistan is blamed on Zahir and Sardar Daoud Khan, while the first and filmR ozgaran (Daily Lives). Talabgar (directed by winds blowing the pests north from Pakistan. Two third are concerned with the invented journey of Khaleq Halil) translates loosely as ‘the one who 196 mousse 34 ~ Afghan Films asks’ and in the case of this 40-minute film the one in return, their ceremonies were joined together head of the camera department at Afghan Films. who asks is specifically the man who asks a girl’s into one mega-wedding, and broadcast live over Latif would spend every evening as an apprentice parents for their permission to court their daugh- the radio. Professional announcers from RTA sat in Talwar’s house. This schooling continued for ter. Most of the film is a daffy comedy (with the ap- at the head table and provided commentary on the three years, after which Talwar told him that he propriate, if somewhat tacked-on, moral ending) evening; additional games and contests, like the had acquired the hunar needed to enter the profes- about a gambler trying to cheat his way into the one where a blindfolded guest had to guess who or sion of cinema. good graces of a wealthy family whose daughter what she was hearing from a short sound sample, he wishes to marry. But tucked into the middle of were also facilitated. From the film, the guests all comedy and morality play is a quite serious and seem to be having a good time, and the grooms, at — Late 1970s revolutionary little piece of dialogue. In the scene least, seem happy to have escaped the often crush- Kocha-e-Kharabat from which this image is taken, the daughter be- ing costs of a more traditional wedding ceremony. newsreel rushes ing courted, Sima, has just returned from being in- formed by her father that he will allow the talabgar to pursue his suit. She is furious because her father — 1975 had promised to allow her to finish her education Bhutto visits Daoud before marrying. Her sister asks what is wrong, newsreel and then gently suggests that it might be better to submit to their parents’ will. Sima protests bitterly that her father is “only thinking about money and property,” and they have the following conversa- tion: huma: What is your idea of happiness? Sima: Learning, and making my own way. huma: Yes, but money also has a role in happiness, doesn’t it? This image is taken from a batch of unedited news- sima: You’re wrong. Knowledge is the most im- reel rushes, filmed during the Khalq period of the portant thing. You can’t buy knowledge with mon- Communist regime, between late 1977 and early ey, but you can make money from knowledge. 1979. Here you see Kocha-e-Kharabat, an alley in huma: Okay, but we can’t refuse our parents’ deci- the old city of Kabul. Kharabat has traditionally sions. This newsreel from 1975 documents a meeting been home to some of the most legendary musi- sima: Sister, we have to stand up for what we know between Pakistani leader Zulfiqar Ali Bhutto and cians in Kabul. Ustad Rahim Baksh, Ustad Sara- to be right. If we believe that money can’t bring Afghan leader Daoud Khan. The meeting repre- hang, Ustad Shaida, and Ustad Hamahang were us happiness, it is our responsibility to defend our sented a historic rapprochement between the two all part of a close-knit community of musicians rights against old traditions. countries, but this move towards friendship was who lived in Kharabat. Once, these musicians per- never pursued, because both leaders were killed formed classical music and ghazals in darbars. Now shortly thereafter. As the image shows, the Paki- most people go to Kharabat to choose musicians stani delegation was taken to visit the Buddhas of for their weddings and other celebrations. Engi- Bamiyan, giving us a glimpse of another face that neer Latif, the director of Epic of Love and other would soon vanish into memory and legend. beloved Afghan films, also lived in Kharabat as a child. A number of his films have scenes set here. Most recently, he returned to shoot a film called Ri- — 1976 sha, which is about a man who fled to Canada dur- Mujasemaha Mekhandan (The Statues are ing the Sawr Revolution and who returns to Khar- Laughing) abat 40 years later to see his father’s house. Back in fiction feature Canada, the meaninglessness of his life provokes him to leave his family and move back to Kabul. This kind of conversation was, if not entirely com- monplace, also not very unusual in Kabul in 1968; — 1977 or 1978 but seeing it on film, forty years later, feels like a Land redistribution record of something long forgotten, and only re- newsreel cently brought back to mind. — 1973 Triple Wedding newsreel In the opening shot of this film, a professor writes the word hunar (art) on the blackboard. He turns around to face the class and says: “art is the salt of life.” Everybody needs art, but only a few can make art. He expounds on the qualities one needs in order to be an artist. Among the qualities he lists: an artist has to be ahead of his time.
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