Persepolis: The Film
As the Shah lost its influence in Iran, it seemed as though the would become peaceful. However, a rise of Islamic fundamentalists gained rule and Iranian's hopeful euphoria was short lived as accounted in Marjane Satrapi's graphic novel and film, Persepolis. It is an auto-biographical film of Satrapi's childhood in Iran and her guilt ridden adulthood in Vienna. The film accounts the corruption and force of the Islamic Regime in Iran and its affects on the people.
The movie begins with Satrapi waiting to board a plane. While she is smoking a cigarette (an image that repeats throughout the film) Satrapi recalls childhood memories of Iran. It is important to mention that the film begins in colorful animation, but fades into black and white-- an aesthetic visual that represents dark memories of a time passed, a time full of painful emotion, and a time of people who still had parties and laughed through the dark times. Most importantly, it was a time that birthed the prophecy of Satrapi's mission: to remind the world of the importance of the human experience.
The film seduces the viewer with its stark black-white images and dark-sarcastic moments. Humor is equally shown with intense moments as Satrapi and her grandmother are seen pouring alcoholic beverages into the toilet, before they are caught by fundamentalists, who may potentially charge into their home at any moment. However, the fundamentalists do not barge in as Satrapi's father deters them. Satrapi's father enters the home and both Satrapi and her grandmother are standing and whistling innocently, as if nothing happened. Upon seeing the father, they sigh in relief. Satrapi's father comments that he needs a drink and asks if there is any alcohol left, but Satrapi shakes her head no. Laughable moments like this and many others are sprinkled throughout the film.
The film was nominated for an Academy Award for The Best Animated Film and has won numerous awards after its release in 2007. In an interview Satrapi comments that 'the reason she produced the movie as an animation is that she wanted more people to relate to it.' By using the venue of animation she was able to save the audience from the brute violence and blood of the war. Satrapi also comments that, "If you notice I didn't use any cultural markings. You didn't see anything Iranian in the animation or graphic novel because I wanted my audience to realize that this could be anywhere, it could be Connecticut. And if I was able to do that, to show that it is the struggle of the human, then I accomplished what I had hoped."
As the first part of the film ends, Satrapi is seen leaving her mother and father; this scene is emotionally charged and leaves the audience empathizing with the family. Satrapi is an outspoken character that we care for and so when she cries as she is leaving her parents, we cry too.
The movie begins with Satrapi waiting to board a plane. While she is smoking a cigarette (an image that repeats throughout the film) Satrapi recalls childhood memories of Iran. It is important to mention that the film begins in colorful animation, but fades into black and white-- an aesthetic visual that represents dark memories of a time passed, a time full of painful emotion, and a time of people who still had parties and laughed through the dark times. Most importantly, it was a time that birthed the prophecy of Satrapi's mission: to remind the world of the importance of the human experience.
The film seduces the viewer with its stark black-white images and dark-sarcastic moments. Humor is equally shown with intense moments as Satrapi and her grandmother are seen pouring alcoholic beverages into the toilet, before they are caught by fundamentalists, who may potentially charge into their home at any moment. However, the fundamentalists do not barge in as Satrapi's father deters them. Satrapi's father enters the home and both Satrapi and her grandmother are standing and whistling innocently, as if nothing happened. Upon seeing the father, they sigh in relief. Satrapi's father comments that he needs a drink and asks if there is any alcohol left, but Satrapi shakes her head no. Laughable moments like this and many others are sprinkled throughout the film.
The film was nominated for an Academy Award for The Best Animated Film and has won numerous awards after its release in 2007. In an interview Satrapi comments that 'the reason she produced the movie as an animation is that she wanted more people to relate to it.' By using the venue of animation she was able to save the audience from the brute violence and blood of the war. Satrapi also comments that, "If you notice I didn't use any cultural markings. You didn't see anything Iranian in the animation or graphic novel because I wanted my audience to realize that this could be anywhere, it could be Connecticut. And if I was able to do that, to show that it is the struggle of the human, then I accomplished what I had hoped."
As the first part of the film ends, Satrapi is seen leaving her mother and father; this scene is emotionally charged and leaves the audience empathizing with the family. Satrapi is an outspoken character that we care for and so when she cries as she is leaving her parents, we cry too.
i'm glad you reminded me of the humor embedded in the book and the film. it was a powerful antidote for the horrors and unhappiness described.
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