Persepolis

Forget your stereotypes of Iranians. `Persepolis' is an engagingly funny, sad, and poignant look at Merjane (Margie) (Chiara Mastrorianni) a girl who grows up in Tehran during the 1980's. Despite our possible preconceptions, Merjane surprisingly sports addidas sneakers, eats French fries, and yearns to shave her legs. The movie provides an absorbing history lesson, showing us the close up ramifications of people's lives behind the headlines, and tells a captivating story about a girl trying to belong and survive under dire circumstances.

Until all the world changing events, Merjane lets us know, "I led a peaceful, uneventful life as a child." Within the family, Merjan's uncle is kindly, yet communist. He's probably seen enough dictatorships and knows of only one way out. His ordeal is documented well enough. The most supportive in the family is Merjane's grandmother (Daniell Darrieux), whose affection and wisdom go a long way. Her parents (Catherine Deneuve and Simon Abkarian) are also good people who yearn for freedom, but know how to keep Merjane's best interests above their own.

During the time, we get a first person perspective on the Shah of Iran, his rise to power, the unrest that led to his exile, and his subsequent replacement by Ayatolla Kohmeni while Saddam Hussein rose to power in Iraq. From the narrative and the played out scenes, we get the pedestrian view of how these events came into fruition and their implications in everyday lives. Later, the Iran-Iraq War is particularly unsettling for her entire country. For her safety, Merjan flees her country and settles into Austria where she develops not so close friendships with the "Out" group, seeking refuge in the punk rock/alternative scene. With Merjane telling her story we get an intimate and often comic take on the angst of adolescence as well as what it's like to be a foreigner who's mostly misunderstood or ignored. She returns to her own country and her family, but the changes have made her an alien in her own neighborhood. Knowing the origin of this film, you can probably guess what happens next...

The animation is unique and interesting. Reminded that this film garnered a nomination for Best Animated Movie Oscar*, the extras show the French artists creating the film one frame (or picture) at a time. Done mostly in black and white, the backgrounds are stylish, but mostly stagnant with the characters remaining flowing for every scene. Oddly, it is only during the transportation scenes (like when she's waiting at the airport) when we are given the full color treatment. Inevitably, it must be that hope colors her consciousness every time there's a new transition in her life. I have one objection: I didn't like all the body fluids presented. I thought they kept it real enough without having to show all of that. Ironically, the blood made a difference. We need it as evidence; it provides an unflinching detail of the ordeal(s) at hand and respects all the people involved.

Our funny bones are tickled several times as our colorful rebel resorts to splendid retorts to zealous extremists ("Girls who reveals themselves will burn in hell," says one educator), and we are served some truly funny thoughts about her body changes during puberty and the fallout of dating. 'Persepolis' has many simple joys entailed upon its viewing: A fascinating first-person history lesson, an absorbing story, and a splendid protagonist.

(Not since Art Spiegelman's groundbreaking 'Maus' have I seen a similar graphic novel treatment give this much of a wollop.)

*`Ratatouille' won the Oscar for Best Animated Film from 2007.

Marjane Satrapi has indeed lived an interesting life. Growing up in Iran and seeing a country and culture transform from the days of the Shah to all the turmoil that ensued in a revolution left her, her family, and her country devastingly reeling to find some semblance of a livable life. Persepolis, graphically animates, Satrapi's comic book graphic novel of the same name and does it to great effect both with the story and with the art form. Though I've rated it 3-stars, don't think it is a movie you should pass on. Persepolis is what your friends will be talking about around the dinner table, at the local Starbucks, at Church, at your 4th of July bar-b-que. Though the flick didn't live up to the high expectations I had for it, doesn't mean you shouldn't take the opportunity to immerse yourself in all things Persian to try to get a better understanding of a part of the world that has the single-most potential to be the next international conflict flash point. Get to know Iran because it will be on center stage for years to come.

The highlight of Persepolis is the animation. Though the physical depiction of the characters are somewhat one-dimensional, the animator Vincent Paronnaud uses light and color and unique shapes to enhance their emotions and the events of their lives. There is one scene in which two older burkha wearing religious ladies acccost her on the streets for listening to punk music. The shape of the ladies in their burkhas are almost amorphous, snake-like and the power of intimidation leaps out so much more than what it would have been if real actors played the characters. Time and time again the animator uses the contrast of light and darkness to highlight a scene. Many times there are the scene fade-outs where a white figure is left to the end burning itself in one's retina providing a subtle yet effective dramatic effect.

I think of other adult animations and ones that really caught on and caught my attention did some different things either with the story or with the animation. "Heavy Metal Heavy Metal: Music From The Motion Picture," reached out to teens in the early 80's and then found a second life on the midnight movie circuit. Though I was drawn in by the killer soundtrack featuring Sammy Hagar, Blue Oyster Cult, Devo and Sabbath; the movie tied in animation, music and story into a specifically teen targeted flick that stuck. Or Richard Linkletter's "Waking Life Waking Life," that came out in 2003 has something so unique and creative about it that its take on philosophy stays with you years after you've watched it. Though I enjoyed Persepolis and there has been much Oscar buzz surrounding it, I can't say it's a flick cut of the same ilk.

Just for the fact alone that the Western world should be studying up on all things Persian, all things Iranian, is a compelling reason to run out to Amazon and grab the latest copy of "Persepolis." Satrapi's coming of age in a changing and seething culture is a story that stands out in these modern times. But more so the window into Persia and how it has transformed itself in the last 40 years, is the real draw here. ...mmw

"Persepolis" has the distinction of being one of the four or five books I've read and raved about BEFORE they were turned into acclaimed films.

This film is certainly above average, but I don't think it can touch the two graphic novels.

I'm not sure why that is, though. The same tone and style is used in both, and certainly Marjane Satrapi's creative control infuses both.

But the graphic novel was more episodic: the film bleeds everything together, creating the illusion that it's telling a coherent story. But the viewer becomes vaguely uncomfortable when he realizes the film isn't telling a coherent story, more of a pastiche. The graphic novel could get away with this, but the movie can't.

Also, the book allowed you to pause, think, and digest. Movies, by their nature, do not.

And the inability to let things sink in before you moved forward definitely blunted the effect of some scenes.

"Persepolis", based on Marjane Satrapi's graphic novel, is one of those kind of films that acts not only as a well-constructed and thought-provoking film yet at the same time a reminder that animated films are not simply just for kids and parents looking to kill time or adults who are fascinated by robots and bizarre imagery like that from Japan. Its format is rather unique and indeed the method of telling a very adult and politic-centered story using an attractive visual style might seem a bit off-putting but that also makes the story stand out more and it becomes emotional without manipulative and comedic without being untasteful. In essence, it's a story about life...using pencils.

Based on novel creator and director Satrapi's life, the film follows Marjane as a young girl living in Iran. Dealing with the oppression and government control of the Shah and hoping for better days. That day comes when the Shah falls and a revolution happens but much to their dismay, the new government is just as worse with fierce laws concerning dress, speaking out about politics, music and social class of women. Marjane is sent away to Vienna but like any traumatic event, moving elsewhere doesn't mean you've entirely escaped your past and the influence of the war is just as powerful as it is anywhere.

Awhile ago, I had the pleasure/misfortune of watching another French animated film called "Renaissance", another visually-appealing film which wasn't geared towards children. Only problem was the story was incredibly dull and you remember the art style more than you remember the movie. "Persepolis" on the other hand not only has a unique style with black-and-white and more exaggerated movements and shots with occasional color sequences but the story is also intriguing. There's not much of a story so to speak and we focus on the progression and maturing of Marjane but the film never feels slow and sluggish and the story helps bring the characters to life, so to speak.

But a film concerning a war and revolution doesn't have to be depressing and indeed, there's plenty of humor to be found. Whether it's a pair of eyes poking out of a puff of exhaust Looney Tunes-style or just genuinely funny moments such as a scene concerning flushing alcohol from officers to Marjane herself as a character, the film works on many levels though I doubt kids would be into this. Only thing that didn't sit well with me is that the last 20 minutes or so don't really drag but you can tell the film's starting to slow down a bit, like a runner in a race pushing himself to the end. A weird sequence involving "Eye of the Tiger" is strangely funny but in retrospect, it's also a bit too unlike the rest of the film that it sticks out sore thumb-like.

I'd recommend watching the French dub with subtitles over the English dub since I don't mind the dub but it's rare for the English track to be better than the original track and I prefer the voices in the French one. We get some looks into the making of the film (but sadly, no feature-length commentary) but I'd recommend watching the film since it's so unlike what I normally watch in animation outside of Japan.

"Persepolis" is an animated film based on Marjane Satrapi's autobiographical graphic novel of the same name about her childhood in Tehran during the last Iranian revolution and coming of age after emigrating to Vienna. It is an extraordinarily ordinary story about an average woman coming to terms with herself and with the world around her. Did I say "average woman"? My bad. I meant dynamic, charming, intelligent, and fiercely individualistic. Ms. Satrapi's story is among the finest works ever animated and bestows upon the viewer the endless virtues of knowledge, a broadened mind, and a true perspective on humanity. "Persepolis" will break your heart, make you smile and laugh out loud, cheer, possibly sing, and restore your faith in humanity. The fact that this was passed over for an Oscar in favor of yet another mediocre Pixar effort (about a rat that controls a chef by pulling his hair, no less) is the ultimate proof positive that that award (or any other, really) has no merit whatsoever.

Young Marji walks down the street to the place where shady characters reside. As she passes each bootlegger, they whisper the names of the forbidden fruit they possess. "Lipstick" whispers one, "Jichael Mackson" mispronounces another. She continues on until she hears what she wants: "Iron Maiden". She quickly negotiates a price and makes off with her prize just as a group of overbearing religious figures tower over her. They have taken issue with her shoes: plain sneakers. Marjie insists they are for basketball, but another spots her Michael Jackson patch, a symbol of American greed. Then the coup-de-gras; she has "punk is not dead" scrawled across the back of her outfit. Thinking fast, Marjie bursts into tears, sobbing lies about her parents having died in the war with the Iraqis and a cruel guardian who will burn her with an iron if they turn her in. Safely back at home, having tricked the local oppressive religious posse, the young girl grabs a tennis racket as a guitar and bangs her head to the sweet, hard-earned reward of heavy metal. The scene then segues -music still rocking- to the frontlines of the war where the new Iranian Islamic rulers are sending young men unarmed to rush the Iraqi army, acting as human shields/martyrs. Their parents are rewarded by the government for their sons' sacrifices with little plastic keys which are promised to open the door to Heaven for their dead children. Such are the complications of everyday life in Iran at this time. The duality of these scenes speaks a lot for the power and message of this film. But while there is highly enlightening political commentary and historical information to be found here, the focus is on the everyday life and struggles of our protagonist with the horrors of her surrounding often being downplayed.

The animation is minimalist art of the highest stylistic brilliance. The endearing nature of Marjie and her family is only highlighted by the ultra-simplistic black and white pencil-and-paper artwork. All of the CG in the world could not improve on this film in any way; the focus is on story, characters, and stylistic integrity, as it should be. The film's philosophies run deep and broad, ranging from harsh commentaries on authority to harsh commentary on purposeless counterculture. Wisdom comes from Marjie's grandmother, from her imaginary chats with God, and her memories of her communist uncle. These are life lessons about integrity, prudence, and acceptance that one should always carry with them and produce many, many quotable quotes.

Do not think for a second that this film is all about heaviness of spirit and preachiness. No, no, no, no; nothing could be further from the truth. Ms. Satrapi is a brilliant social satyrist who fills "Persepolis" with pointed jokes, lighthearted moments, and heartwarming charm while pointing out that at heart, we are all the same. There is a time in Marjie's life where she becomes a lifeless, jaded cynic unable to do anything but watch TV and let life pass her by. Then one day, she wakes up angry again. The result is a musical montage that will likely make you laugh hysterically or jump out of your seat to sing along. Possiby both. This is just that kind of film. Throw in some animated love for Godzilla, Bruce Lee, and Terminator 2 and I am beyond sold.

The DVD has a few behind-the-scenes special features that show us the woman herself at work. Having already fallen in love with her animated doppelganger, seeing the vivacious Marjane Satrapi made flesh is a real treat. We get a view of the old-school animation processes and are able to watch Ms. Satropi act out different characters for the animators to see. This is nearly as much fun as the movie itself. Wonderful feature.

This is a near-perfect film that I would recommend to anybody who isn't going to run away from a mostly black and white animated film with subtitles. And if you are: well, enjoy your life of closed-minded cinematic ignorance. "Persepolis" is a revelation whose duty is to entertain us while reminding us just how good we have it and simultaneously educating us about a culture and history few in the West have made any attempt to understand. Ms. Satropi's insisted that this story be animated and not filmed for this reason: animated characters are more universally identifiable. Set a film in Iran and fill it with Iranians and you have an ethic film that many will subconsciously refuse to identify with. But with animation, all things are possible; even bridging a gaping cultural divide. But at it's heart, this is a film about the enthusiam of youth, the hardships of adulthood, and the triumph of personal integrity. Do not miss this.