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Harvey Karten's Reviews

Review: Persepolis

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#1 of 1 Posted 10/15/07 10:11 PM

From harveykarten Posts 744 Last Nov-19
To All [Msg # 22694.1 ]

PERSEPOLIS

Reviewed for CompuServe by Harvey S. Karten
Sony Pictures Classics
Grade: A-
Directed by:    Marjane Satrapi, Vincent Paronnaud
Written By: Marjane Satrapi, Vincent Paronnaud, from Marjane Satrapi's graphic novel
Cast:   Voices of Chiara Mastroianni, Catherine Deneuve, Danielle Darrieux, Simon Abkarian, Francois Jerosme
Screened at: Sony, NYC, 10/15/07
Opens: December 25, 2007

The title of this animated feature comes from the name of the capital of the ancient Persian empire, now in ruins–thereby serving perhaps as metaphor for writer-directors Marjane Satrapi and Vincent Parannaud. Iran, which was Persia until 1935, is not physically in ruins but by the time you’re midway into the film, you’ll catch the scripters’ viewpoint: that while living in Iran was no picnic under the West-supported Shah–whose Savak, or secret police, were no strangers to every means of torture known to mankind–the country is now politically and psychologically a ruined state.

There’s nothing ruined about the film, though. “Persepolis,” which the French have proudly and justifiably entered into the Oscar race for 2007, is highly creative, beautifully versed, with images that can stun the eye even in these days of technological marvels. Satrapi and Paronnaud use fade-outs, bold use of concentrated light, and a sympathetic, though far-from-perfect central figure to create one gem of a film. Even readers of Ms. Satrapi’s four graphic novels, generally smart kids in the their teens (the sort who might be found in New York’s specialized high schools like Stuyvesant) will be impressed. And unlike typical adolescents, when discussing the film I’ll bet they avoid the studied nonchalance for which 14-17 year olds are famous.

In no way, however, is the movie limited to the young ‘uns. Adults will grab onto the ideological overtones which are generally subtle rather than screamingly melodramatic. The Iran exhibited by these writers is no celestial place for any but fanatics who distort the Koran--the Muslim holy book which states, for example, that “women should dress modestly”--without detailing the rigorous dress codes that are imposed on them by the Pasdaran, or morals police.

The film, which has its graphic characters speaking French with artistically framed English subtitles (which are not as easy to read as the bold letters usually found in Hollywood productions), is mostly in black-and-white but switches to dashes of color whenever the principal character is out of Teheran and in Vienna or Paris. Marjane (voice of Chiara Mastroianni as a teen and adult, Gabrielle Lopes for Marjane as an 8-year-old) is also the name of one of the two writer-directors. Hmmm. Wonder what that means. During the course of the story, she experiences great joy, particularly as a child who loves her parents, Ebi (voice of Simon Abkarian) and Tadji (Catherine Deneuve), is fascinated by the stories of her Uncle Anouche (Francois Jerosme), and tickled by the sometimes off-color talk of her hip grandmother (Danielle Darrieux). But she is no stranger to sorrow as well.

The tale, which opens in 1978 and goes through the ‘90s, moves quickly with considerable humor throughout, letting us into the experiences of Marjane, a a deliriously happy child encouraged by her folks to be independent and by her feisty grandmother to be unafraid of earthy talk. While many in Iran are unhappy with the brutal rule of the Shah, brought to power according to the movie when the British cut a deal, “You give us your oil and we’ll give you your crown,” there is talk of revolution that will bring in peace, love, freedom, and wealth. Instead, somewhat like the creatures of Orwell’s “Animal Farm,” the revolutionary regime, once in power, installs fanatical rules, forcing women to wear headscarves and trousers covering even their ankles while men can get away with casual threads provided that they are not inscribed with “punk” phraseology. Western music and alcohol are banned, with the state police authorized to barge into homes, even smelling the breath of the occupants.

Marjane is sent to Vienna, though it’s not clear how she as a woman is allowed to get beyond the closed borders. She hangs out with teen nihilists, bounces from house to home, and simply does not fit in–which explains her wish to go back to Iran despite that country’s repressions. While she bounces back home to her parents and speaks up against the beards at her school, she realizes that Iran is not for her any more than Vienna. Nor does she care for her husband, who becomes a couch potato soon after marriage, prompting Marjane, attracted to him while they were unofficially dating, to say “Love is easy three hours a week.”

Some of expressionistic notes include her fantasies talking to God and Karl Marx. Given the location of the writer-directors, it’s no secret that Marjane finds France to be the closest she could, in reality, get to heaven. The audience for the movie should find themselves in movie heaven for most of the pic’s ninety-five minutes as well.

Not Rated.    95 minutes   © 2007 by Harvey Karten Member: NY Film Critics Online

Edited 10/16/07 by harveykarten

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Harvey Karten's Reviews

Review: Persepolis

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