While the release of Amjad Hafeez, a Pakistani national who had earlier been captured by militants in Iraq and threatened with decapitation, is good news, there are few signs that the kidnapping of foreign nationals in that country is on the wane. In fact, the fear is that as long as the American occupation of Iraq continues, foreigners in that country, especially soldiers and civilians with links to various US firms operating there, will be prime targets for militants belonging to Islamic groups.
As abductions are indiscriminate - with the captors unmoved by religious affiliations or the non-combatant status of most of their victims - this trend is bound to pose problems for the new administration, already burdened with the gargantuan task of rebuilding a war-ravaged country and restoring security there. In recent weeks, at least two hostages, including an American and a South Korean, have been beheaded and an Italian shot dead, while yet another execution remains unconfirmed.
Nothing short of a total American pullout - not likely under the present circumstances - would stem the crisis, but the Iraqi administration has to give greater attention to hostage taking. The Iraqis alone are in a position to know the ways of clandestine militant groups that have no qualms about abducting and killing innocent people, blaming them of collaboration with the occupiers.
They must denounce such kidnappings and use their influence to prevail upon the captors to release their victims - especially the non-combatants. Meanwhile, other world governments with nationals based in Iraq should take the chilling message sent out by the abductors seriously. They would do well to advise their nationals to stay away from Iraq in these troubled times.
The curtain falls
Marlon Brando's death has robbed Hollywood of one of its greatest actors. In a career that spanned almost half a century, Brando came to be seen by many as the iconoclastic rebel, as someone whom later generations of actors and performers emulated - from James Dean in the 1950s to contemporary actors like Sean Penn, Al Pacino and Robert De Niro.
Brando began his legendary career with a role that defined him and a whole new generation of angry young men when he played the amoral, anti-hero Stanley Kowalski in Tennessee Williams' 'A Streetcar Named Desire' - first on Broadway in 1947 and then in a film four years later.
Some of his better known roles were in 'Viva Zapata', 'The Godfather' and 'Last Tango in Paris.' But it was for playing a boxer who never quite made it in 'On the Waterfront' that he received his first Oscar.
His second Oscar, a rare feat in itself, was for 'The Godfather' but he refused to accept it citing his government's mistreatment of the native Indian population. Although in recent years he had faded out of the public eye and become somewhat of a recluse, his influence as a role model remained undiminished, so much so that aspiring actors everywhere, not just in America, still derive inspiration from Marlon Brando.
He was brilliant at what he did and took his work seriously, often immersing himself completely in preparation for a role. Despite that, and perhaps like the enigmatic characters he played on screen, he tended to be self-deprecating about his profession, once saying that if he was paid as much to sweep a studio's floor as he was for acting, he would much rather choose the sweeper's job.
It is inevitable that an event like this should make us look at the absence in our own ranks of socially conscious actors and film-makers. This is linked with our overall political retardation, and there appears little hope of early improvement.