Persepolis (2007)
Apr 6, 2016 17:32:35 GMT -5
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Persepolis
Dir. Marjane Satrapi and Vincent Parronaud
Premiered at Cannes May 23, 2007
I live in California, and here is a large community of Persians, Armenians, and Jews who fled the 1979 Iranian Revolution. They’ve been my neighbors, colleagues, and even one of my favorite comedians. But overall, my impression of the Revolution is informed almost entirely by those who got away.
While politics isn't absent from Persepolis, it’s not really a political film. In the late 1970s, young Marjane Satrapi witnesses the downfall of the Shah of Iran. Inspired by the stories of her Communist uncle, she eagerly awaits a new era of freedom in her country. Instead, things get worse. The Islamic Republic is established, opposed to both eastern and western blocs. Political repression intensifies, and her uncle is executed. Friends and family die as the country enters eight years of brutal war with Iraq. Western products disappear off shelves and into the black market. And the establishment that once venerated the Shah now venerates the Ayatollah.
Too free-spirited to live in such a condition, Satrapi is sent by her parents to Europe, but she is treated like a stranger and does not enjoy the compassion she did in her home country. However, returning home is no easier. Though the war is over, the country seems to be in a state of permanent revolution, and she must decide whether to stay and try to make the best of the situation, and leave without the possibility of returning.
By eschewing an agenda, Persepolis manages to be far more enlightening and persuasive than any other depiction of this time and place I’ve seen so far. The animation is cute, but still delightfully expressionistic and able to convey a universe of emotions. What’s more, it neither demonizes nor venerates Satrapi’s choices; they are merely part of life, and there are often no good answers.
Sign this was made in 2007: Nothing particular comes to mind, though Satrapi’s drawing style is very reminiscent of more recent animated fare. Perhaps there was some influence there.
Additional Notes
Also in Theaters
Persepolis was released on a Wednesday. The following weekend saw the release of the disastrous and conspicuously un-fun Pirates of the Caribbean: At World’s End; as well as William Friedkin’s horror film Bug, which is most notable for bringing Friedkin and screenwriter Tracy Letts together to eventually make Killer Joe.
With Persepolis, we reach the end of Cannes 2007, as well as May, the most eclectic month to date. Stay tuned for June and the early Summer movie season, including the unlikely dawn of a comedy empire, a darkhorse Oscar-winner, a critically acclaimed family film, and an overlooked gem from an often-controversial documentarian; all to be topped off with my report card on 2007 so far.
Next Time: Knocked Up
Dir. Marjane Satrapi and Vincent Parronaud
Premiered at Cannes May 23, 2007
I live in California, and here is a large community of Persians, Armenians, and Jews who fled the 1979 Iranian Revolution. They’ve been my neighbors, colleagues, and even one of my favorite comedians. But overall, my impression of the Revolution is informed almost entirely by those who got away.
While politics isn't absent from Persepolis, it’s not really a political film. In the late 1970s, young Marjane Satrapi witnesses the downfall of the Shah of Iran. Inspired by the stories of her Communist uncle, she eagerly awaits a new era of freedom in her country. Instead, things get worse. The Islamic Republic is established, opposed to both eastern and western blocs. Political repression intensifies, and her uncle is executed. Friends and family die as the country enters eight years of brutal war with Iraq. Western products disappear off shelves and into the black market. And the establishment that once venerated the Shah now venerates the Ayatollah.
Too free-spirited to live in such a condition, Satrapi is sent by her parents to Europe, but she is treated like a stranger and does not enjoy the compassion she did in her home country. However, returning home is no easier. Though the war is over, the country seems to be in a state of permanent revolution, and she must decide whether to stay and try to make the best of the situation, and leave without the possibility of returning.
By eschewing an agenda, Persepolis manages to be far more enlightening and persuasive than any other depiction of this time and place I’ve seen so far. The animation is cute, but still delightfully expressionistic and able to convey a universe of emotions. What’s more, it neither demonizes nor venerates Satrapi’s choices; they are merely part of life, and there are often no good answers.
Sign this was made in 2007: Nothing particular comes to mind, though Satrapi’s drawing style is very reminiscent of more recent animated fare. Perhaps there was some influence there.
Additional Notes
- Watching this led me to check out Satrapi’s short-lived op-ed section in the New York Times. Do you remember when we thought Paris was under siege in 2005? I don’t!.
- Warning: this film contains visual depictions of the godhead.
Also in Theaters
Persepolis was released on a Wednesday. The following weekend saw the release of the disastrous and conspicuously un-fun Pirates of the Caribbean: At World’s End; as well as William Friedkin’s horror film Bug, which is most notable for bringing Friedkin and screenwriter Tracy Letts together to eventually make Killer Joe.
With Persepolis, we reach the end of Cannes 2007, as well as May, the most eclectic month to date. Stay tuned for June and the early Summer movie season, including the unlikely dawn of a comedy empire, a darkhorse Oscar-winner, a critically acclaimed family film, and an overlooked gem from an often-controversial documentarian; all to be topped off with my report card on 2007 so far.
Next Time: Knocked Up