2007, France/USA
Adventure, Animation, Drama, History, War
READ THE fest review & full review at The Desert Sun.
Extended version:
It's hard to pull off wearing a "Punk is not ded" jacket with a headscarf in Tehran, but young Marjane knows how to rebel safely against authority.
Based on Marjane Satrapi's autobiographical graphic novel and directed by the artist with Vincent Paronnaud, Persepolis reduces war-torn Iran to a child's perspective, and an intelligent one at that. The country that is often blanketly described as an enemy of America is revealed to be populated by thoughtful citizens who are fighting from within to maintain their own rights and beliefs. As with America, the leaders and military shown by the media do not represent the entire country.
As a child during the Islamic Revolution of the late 70s, Marjane is a sponge for the truth, though it is delivered in deceptive packaging. When she spouts the tenets of her teachers regarding a God-appointed leader, she is quickly corrected by a family who has dealt with his persecution. From that moment on, she views the world with new eyes, but still has much to learn about labeling people and actions as being black or white.
Which makes the dichromatic animation that much more fitting. The film lacks nothing in beautiful imagery, as detailed, hand-drawn layers slide past one another to reveal a complex story told in retrospect. History is cleverly presented through shadow puppets, but it is a tragic tale.
Satrapi's novel was published in France -- her second home after her parents worried for her safety. Influenced by the honesty of Art Spiegelman's Holocaust graphic novels, "Maus," Satrapi whittles down a fearful situation through the eyes of a tough and outspoken girl seeking answers.
It is impossible not to like Marjane. The Adidas-wearing, Bruce Lee-loving child who just wants to shave her legs and be come "the last prophet of the galaxy" talks things over with God when troubled and converts her wise and uncensored grandmother to her idealistic new religion. Idealism gives way to caution and secrecy as she ages, as women become second-class citizens and friends and family are needlessly imprisoned and killed.
When sent away to Vienna for a safer education, Marjane's two worlds clash. She fails to identify with ignorant European radicals who think revolution is cool but have not experienced the losses that result from it. Though she is allowed to partake of excess material goods and free expression, she misses her home country despite its troubles.
Don't let the animation fool you. Though very entertaining and often bitingly funny, Satrapi has created a painfully honest look at a distressed country whose people want a return to normalcy. Filtered through a young mind, disturbing situations are sometimes watered down to their bare essences, but the story of tyranny is clear. In the film, Marjane is often reminded not to forget her roots, and Satrapi does her country proud with this thoughtful, historical account.