Persepolis

Persepolis is one of the most thoughtful, poignant and original films I have ever seen. Hang on, "poignant" and "thoughful", an animated movie (and based on a comic-book, on top of that)? Exactly, because coincidentally Persepolis also happens to be the first really adult "cartoon" I've had the pleasure to watch (Waking Life and A Scanner Darkly don't count, as they were filmed with real actors first, and subsequently modified in post-production). For all their good intentions, the likes of Dreamworks and Pixar always have an eye for what the little ones want to see, while The Simpsons, despite the occasional "mature" storyline (basically Homer and Marge's sex life), contains nothing a 12-year old isn't supposed to see. As for Family Guy and South Park, they might be aimed at grown-ups with their merciless satire and, in the case of the latter series, explicit language, but are made with an almost puerile sense of joy which prompts younger kids to watch them in secret. Persepolis, on the other hand, deals with adult themes in a serious, unpretentious way. So yes, it is an animated film. Yes, it is based on a comic-book. And yes, there is the occasional neat movie reference (Rocky III being the most memorable one). That doesn't mean it's a kids' movie, though; it just means the picture was made with a particular style because it was the most effective way to tell this specific story.

And what is so special about the story? Well, it is an account of what is going on in contemporary Iran, a topic that is more relevant today than it's ever been before. And the extra layer of poignancy derives from the fact that co-director Marjane Satrapi experienced every single event in the film. After moving to France to avoid the increasingly oppressive political situation that had developed in Teheran (which the ancient Greeks called Persepolis, hence the movie's title), she published her autobiography in the form of a graphic novel, which immediately became a cult phenomenon. With the help of artist Vincent Paronnaud, the stylized drawings have become a motion picture which has already conquered critics and won several awards (the Jury Prize in Cannes being one of them).

The film's strict adherence to the book's style makes for simple but powerful viewing: the simple pictures ensure the story doesn't need to be filtered, but can be understood right away, while the use of black and white provide the images with a strength that would otherwise be missing. A good example is a scene depicting a demonstration against the despotic regime in Iran and the subsequent shooting of one of the protesters, whose body is left lying on the ground: as his blood starts to flow, the corpse almost merges with the environment, giving the shot (pun not intended) an emotional relevance it wouldn't have, had the whole thing been in color. The choice of animation proves to be particularly effective in a most unusual choice for this kind of film, namely fantasy sequences: there is a hilarious moment, for instance, when Marjane, during a stay in Vienna, looks back on her disappointment in love and sees her ex-boyfriend as a depraved freak; live-action would have ruined that scene, undoubtedly. As it is, however, it comes off not as a bizarre formal experiment, but a fundamental tool for understanding the heroine's psychology.

That said, it should also be noted that Persepolis isn't just a bold take on the difficulties in the Middle East. As seen in Clint Eastwoood's Iwo Jima double bill, the line between "heroes" and "villains" is very thin, and the film never misses the opportunity to show how bad our own society can be: Marjane ends up hating Europe more than her home-country, and at the beginning a flashback shows the British government's role in manipulating Iranian politics for money's sake. Incidentally, the latter scene is depicted as a puppet show, providing a new, fresh angle: what sets truth apart from fiction?

Persepolis works because it handles an uncomfortable subject with grace, using a simple but constantly effective storytelling technique and never once pandering to audience expectations with the usual 'toon gimmicks (even the casting proves that: except for Catherine Deneuve, who plays the low-key role of Marjane's mother, there are no famous voices in the feature). It sticks to traditions and stretches the medium at the same time, showing that animation is no longer a "children's genre" and therefore delivering a new way to look at film-making and its possibilities. For this reason, and several more, it is one of the best pictures of 2007.

I rated this film a 9 more as a visual complement to the comic book (of two volumes, now bound as one), which I believe to be a masterpiece. If you left the film less than emotionally attached to the characters, PLEASE give the book a chance, because, as is often the case, episodes and histories of a lot of the characters, including Marjane, are left out to adapt the story to a film medium. Having said that, there are great sequences, expressionistic animation, and the wiseass grandma is left fully intact from the books! I can understand why some people weren't emotionally compelled by it though, since the movie doesn't take the time to fill the audience in on all the quirkiness and endearing qualities of the characters as Satrapi originally conceived them.

I came out of this movie feeling as if I knew Marjane Satrapi. The way in which the story is told is fantastic - it really is as if you're reading her journal. As she grows up from being a young girl to an adult, at each age the story is told with a corresponding maturity, and highlighting things which seem like very personal memories. As a young girl, the stories she is told are very black and white, and as she gets older the complexity increases, which is exactly what you would expect. Although there is lots of political activity, she makes fun of herself and highlights her own shortcomings as much as she highlights the repressive elements in her homeland. By telling of her own experiences it really is extremely easy to see how so much of it is common to a whole generation of Iranians. Her love of her family and her country came across very strongly, and you really felt as if she had laid herself bare. A moving and entertaining movie as much as it is educational about post-1979 Iran.

The black-and-white animation, highly stylized and two dimensions which doesn't attempt to render the usual cartoon 3-D, summarizes in quick, intelligent flashes, often impressionistic, growing up in Teheran and Vienna from a highly personal point of view. The narrative is as original as the art. The narrator, Marjane Satrapi, only daughter of an educated Teheran couple, first sketches in briefly how the Shah first came to power,only to lose it and have it replaced by the fanatical religious regime of today. Educated in a French school, she and her family are rapidly alienated from the so-called revolution; she is sent to Vienna to continue her education, falls in with a group of punks and eventually returns both depressed and disillusioned to Teheran where, with other university students, she must submit to the rule of extreme Islamists.

The story covers a great deal of ground from the point of view of a young pro-Western culture radical, and is told with humor and intelligence. She laughs at herself as much as at the semi-lunatic Guards of the Revolution.

Satrapi's hold on reality is much strengthened under the influence of her highly honest grandmother who teaches her not co compromise, not to betray and not to give in.

This is no fairy tale with flying horses and beautiful princesses, but a serious, unsentimental and sometimes brutally honest film covering, among other events, the story of the millions of Iranians and Iraqis who died in a now forgotten seven year war around the Persian Gulf.

Marjane Satrapi's venture to present the chronicle of the Iranian Islamic revolution filtered through the eyes of a lively and cheeky, French-educated young girl is bold and ambitious. To do so by the help of strong-silhouetted, axe-carved, triangle-nosed cartoon figures is even more peculiar. Her powerful heroine – Marjane, named by no coincidence after the creator – however, spectacularly succeeds in replacing and emulating any possible real flesh characters. She is intellectual, witty, utterly impudent and very funny; the essential Euro-kid of the wild and untamed 1970s and early 1980s.

This brilliant movie serves as a study proving that animation is more powerful and potent than ever before no matter how unsophisticated and basic the visual elements are. And although the technique used in Persepolis has long been present it can be said that perfection has just been achieved.

Satrapi's work is so very French: wantonly intellectual, acrimoniously witty, utterly sarcastic and outrageously funny. However, even this masterpiece could not escape common places and is not without disturbing occurrences of generalization of characters and situations. Still, you will have a wide and genuine smile on your face coming out of the theater. Persepolis is per se unique and compelling with the ability to make you smile at the right moments - when tension has built up too much.