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Rating:  - Persepolis
AMAZING! I would recommend this film to everyone. It's a wonderful story about coming to age during a turbulent time. A must see for anyone who has a heart and emotions. This film was heavy with comedic elements mixed throughout. It made me laugh, cry and really think. Don't be scared that it's a foreign film. You do have the option to play it in English, without subtitles. Definitely worth the money. Spoiler Alert: The ending is somewhat dissatisfying.
Rating:  - "Down with Shah Oppression! Up with ... Islamic Repression!!"
PERSEPOLIS is a terrific film that portrays a young girl's coming of age process against the background of political change in Iran. The rule of the Shah is finally overthrown amidst much optimism for a better life. Instead, the Islamic Republic fundamentalists who take over turn out to be even more oppressive than the Shah. As The Who sang, "Meet the new boss/Same as the old boss." The film stops short of extending its time-line to the current Islamo-fascists and nuke-happy nut-job at Iran's helm currently.
Not that the West comes off much better in this tale. Marjane - the main character - lives part of her life in Western Europe but finds that it has its own problems, though torture and religious inspired oppression does not seem to be among them. There are interesting and touching bits of dialogue between Marjane and God, trying to find meaning in the suffering that she witnesses.
PERSEPOLIS is a wonderful film that casts a dismal pall over man's ability to get it right in the realm of political change. It is effective in spotlighting "man's inhumanity to man," and portraying the conflicts of an Iranian woman who is both rooted to and alienated from her homeland.
Rating: - A Headstrong Woman's Youth in Iran, Told Through Striking B&W Animation.
"Persepolis" is based on Marjane Satrapi's autobiographical graphic novels of her childhood and youth in Iran. Satrapi co-directed and co-wrote the film with Vincent Paronnaud, and she is careful to say that it should not be taken as a literal representation of her life, because the narrative technique in film is so different from graphic novels that some liberties are inevitable. The story begins in 1978 Tehran, as 9-year-old Marjane, with a childish and uncomprehending political eye, witnesses the last days of the Shah's regime. Initial optimism turns to fear as the nation's new leadership institutes Draconian reforms. Fearing for their outspoken daughter, Marjane's parents send her to high school in Vienna. After an eventful flirtation with Western culture, Marjane heads back to Tehran for university, family, and more frustration with that nation's oppressive religious regime.
"Persepolis" is created from hand-drawn animation, stark black-and-white foregrounds that tend to be against muted backgrounds. Though the characters are illustrated with relatively simple lines, the texture of other elements in the scenes is often pronounced and inviting. Marjane Satrapi chose to make an animated film in part because she wanted it to be abstract, not identified solely with a particular place and time, and not an "ethnic" film. She's correct in thinking that animation removes the ethnic quality, even from a film that takes place in a foreign country among people speaking a foreign language. The animation style is thoroughly enjoyable and deceptively simple. The clean lines focus attention on what is important, while peripheral elements create mood.
I don't think that "Persepolis" has anything pointed to say. It expresses one person's experiences with passion and humor. Marjane laments what happened to her family and country. She remarks on the advantages and shortcomings of life in Europe. I think more than a commentary on Iran or oppressive governments, "Persepolis" expresses the conflicting emotions that immigrants from the developing world to the First World often feel: Contentment and optimism in the new opportunities that they enjoy. Frustration and nostalgia for their native countries that continue to struggle with basic social and economic issues. This is where "Persepolis" most succeeds and finds itself expressing thoughts and emotions common to millions of people. In French with optional subtitles.
The DVD (Sony 2008): The film was recorded in French, but the directors also recorded an English version, so you can watch the film in either language or with subtitles in English or Spanish. There are 5 featurettes on the disc. Most are in French with subtitles. "The Hidden Side of Persepolis" (30 min) is a French making-of documentary. Satrapi takes us behind the scenes to meet the film's animators, cast, and other technicians, who explain their work. "Behind the Scenes of Persepolis" (9 min) was made for the English version. It interviews the director and some of the American cast. In "Cannes Press Conference Q&A" (29 min), the directors, producers, and French cast take questions from the press. "Selected Scene Commentaries" presents 3 sequences with commentary by Satrapi, Paronnaud, or actress Chiara Mastroianni. "Animated Scene Commentaries" present another 3 sequences plus some tests that were not used, comparing the film to the storyboards, with commentary by Satrapi.
Rating: - "Bear the Unbearable"
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.
Rating:  - An Animated Persian Window
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
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