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“Persepolis” is an exciting film based on Marjane Satrapi’s autobiographical graphic unique 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 yarn about an average woman coming to terms with herself and with the world around her. Did I say “average woman”? My dreadful. I meant dynamic, charming, shining, and fiercely individualistic. Ms. Satrapi’s chronicle is among the finest works ever spirited and bestows upon the viewer the endless virtues of knowledge, a broadened mind, and a accurate perspective on humanity. “Persepolis” will smash your heart, accomplish you smile and laugh out loud, cheer, possibly state, and restore your faith in humanity. The fact that this was passed over for an Oscar in favor of yet another mediocre Pixar concern (about a rat that controls a chef by pulling his hair, no less) is the ultimate proof determined that that award (or any other, really) has no merit whatsoever.
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Young Marji walks down the street to the spot where shady characters reside. As she passes each bootlegger, they swear the names of the forbidden fruit they bear. “Lipstick” whispers one, “Jichael Mackson” mispronounces another. She continues on until she hears what she wants: “Iron Maiden”. She speedy negotiates a effect and makes off with her prize impartial as a group of overbearing religious figures tower over her. They have taken order with her shoes: tiring, 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 listless” scrawled across the relieve of her outfit. Thinking like a flash, 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 help 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 level-headed rocking- to the frontlines of the war where the recent Iranian Islamic rulers are sending young men unarmed to accelerate the Iraqi army, acting as human shields/martyrs. Their parents are rewarded by the government for their sons’ sacrifices with small plastic keys which are promised to start the door to Heaven for their monotonous 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 unlit 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 epic, characters, and stylistic integrity, as it should be. The film’s philosophies hurry deep and tremendous, 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 manufacture many, many quotable quotes.
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Do not deem 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 quick-witted 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 dull, jaded cynic unable to do anything but glance TV and let life pass her by. Then one day, she wakes up excited again. The result is a musical montage that will likely construct you laugh hysterically or jump out of your seat to deny along. Possiby both. This is unprejudiced that kind of film. Throw in some entertaining care for for Godzilla, Bruce Lee, and Terminator 2 and I am beyond sold.
The DVD has a few behind-the-scenes special features that note us the woman herself at work. Having already fallen in like with her keen doppelganger, seeing the vivacious Marjane Satrapi made flesh is a genuine treat. We pick up a thought of the old-school animation processes and are able to ogle Ms. Satropi act out different characters for the animators to contemplate. This is nearly as noteworthy fun as the movie itself. Astonishing feature.
This is a near-perfect film that I would recommend to anybody who isn’t going to bustle away from a mostly shaded and white moving film with subtitles. And if you are: well, luxuriate in your life of closed-minded cinematic ignorance. “Persepolis” is a revelation whose duty is to entertain us while reminding us fair how pleasurable 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 legend be tantalizing and not filmed for this reason: attractive characters are more universally identifiable. Station a film in Iran and hold 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.
Every once in a while a ample revelation comes in cinema… and we have one here!
Based on the graphic novels The Complete Persepolis by Marjane Satrapi, this 90 little film is a satisfactory translation of the unusual source material. The heavily stylized sunless and white cartoon is very great yet remains simple in it’s universal emotional core. The charming tiny girl we are introduced slowly grows up to be a defiant woman in a plot that is not for her. As we go along with the plug characters approach and go, but the threat of Marjane’s tale never becomes worn, every position point makes an impact. The depressed regain and keen rendition of Survey of the Tiger add a astounding layer to the whole experience.
This film is a breath of unique air in this cynical age of high conception mega tent-pole films. For Iranians, it’s a bittersweet perambulate home, and for Americans… a spacious chance to peek that Iranians are not the monsters portrayed in the never ending game of politico.
A radiant sad and white film for an era of oh so gray problems.
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