I think most of my readers also read Patrick Lang's blog, but I think this guest post is the best thing yet written on the Taliban/SIS/McChrystal/Petraeus fake sheikh affair. Really, there's a great movie to be made here - the multiplicity of motives, the ironic contrast between the absurd story and the deadly serious interests and emotions that drive it forward, the eternal ambiguity of the relationship between the manipulator and the manipulated.
The ISI comes out of it as being dastardly clever, but in a deeply futile way. They succeed in preventing a dangerous outbreak of peace and sanity, but what have they gained? The wars grind on, the butcher's bill ticks up, the fantasy of a Pakistani empire of trucks and pipes across the Hindu Kush is as far away as ever, the Indians continue with their industrialisation across the other border.
The Americans come out of it as being well-meaning but naive. After all, they only get into this story because they want peace. So does the real Taliban leader. They both share a sort of big, stupid nobility.
The British do almost as badly as the ISI; not only do they end up being the dupes of the piece, they do so without the saving grace of having good intentions. They're as naive as the Americans but more underhanded. SIS gets involved purely as a way of sucking up to the Americans and putting one over its real enemies, GCHQ, Her Majesty's Forces, MI5, and the main-line Foreign Office diplomats. The Government is desperately keen on the project for similarly base reasons - to suck up to the Americans, to grab at an opportunity to solve its problem in Afghanistan, and of course to embarrass the Labour Party. Of course, it would have been a brilliant political fix had it come off - but the master manipulator is not Bismarck but William Hague.
The fake sheikh, meanwhile, is a classic example of the Pinocchio/Hauptmann von Kopenick theme - the puppet of bigger forces who becomes a power in his own right. Without his successful performance, of course, none of the many expectations curling around the tale have a hope of happening. His agency is real, and his character expands to fill the role. The fact that the whole project is an exercise in theatre is interesting in itself - a film within the film. The actors in the film are, of course, puppets of the script and the direction, and it is a work of fiction. The enduring purpose of the theatre and the cinema, however, is that works of fiction have real influence on their audiences. Like the fake sheikh.
After all, the grocer of Quetta (not a bad title) is the only character in the drama who successfully pursues his interests. He gets some interesting time off away from his bazaar stall, and even gets rich. You could play this as the ordinary man who succeeds in making fools of the powerful who insist on involving him in their schemes, or perhaps as a microcosm of all the people who are getting rich off the continued war, Mother Courage rather than Kopenick. Alternatively he could be killed off, casting the whole thing as an utterly bleak tragedy. However, arguably the classic in this vein is The Third Man and that sticks with the tragicomic.