Drottningen och jag

The Shah of Iran was an incompetent and somewhat brutal leader, with a much younger wife, whose rule was a principal cause of the accession to power of the still worse regime that succeeded his own. A former communist and opponent of his, herself exiled by the following government, now sets out to make a film about her life in exile and also that of the Shah's widow, who has been out of their common homeland for even longer. It's an interesting idea: to what extent do the two women, who once stood on opposite sides, find common cause after years abroad? But unfortunately, getting the film made requires the widow's cooperation, and she is (quite naturally) extremely cautious. Thus the film-maker is forced to tip-toe around her subject, asking none of the obvious questions (after 30 years, the ex-Queen still lives in luxury with servants) and instead agonising in pieces to camera about her own moral uncertainty at making nice with (and to some extent, genuinely liking) her former monarch. Just sometimes, the story of how a film-maker comes to make a film is more interesting than the film's ostensible subject; but like a football referee, usually the best film-makers are personally invisible. Instead, this film tells of its director's personal journey in making it perhaps mainly because without this, there is little more than sympathetic (and some might say sycophantic) footage of a woman who, for all the hardships in her life, has clearly never been in the slightest bit of danger of having to do a day's proper work. My sympathy lies elsewhere.

Released in the United States in June of this year, Iranian filmmaker, Nahid Persson Sarvestani, turns her lens on Queen Farah, the widow of the last Shah of Iran. This documentary poses the question – well, sorry, I couldn't understand what the premise was, because according to the film maker herself, the film "had a life of its own".

Sarvestani, a former communist sympathizer, escaped from Iran around the time the Ayatollah Khomeini took over leadership and established a theocracy after 2,500 years of monarchical rule in 1979. The story of her disillusionment in the new regime is reflected against her subject's genteel denial of the events that lead to her husband's eventual ouster.

Nahid and Queen Farah share thoughts and feelings about their separate paths that intertwine them for the duration of this engrossing documentary. Pain and sorrow reveal the skepticism of Nahid's memory of the Shah's oppressive rule and the graceful deflection of that harsh reality for Farah. Each woman – both sisters of Iran – symbolize the old and new that is modern Iran today. At one point during the filming, Nahid follows Farah through a dinner party, honoring the former Queen Farah as the undisputed Queen of Iran, among a group of fierce pro-Shah Loyalists.

"What am I doing here?", Nahid says to the camera – or maybe more to herself.

Through it all, what ends up uniting them is not ideology, but a simple mound of earth from their beloved Iranian homeland.

This movie interviews the Queen of Iran (whose husband the Shah was deposed in 1979). It is not the usual sycophant publicity garbage and you can really size up Farah.

These figures of history hold a fascination especially if you get a candid look at them.

Farah's life was tragic...two of children committed suicide. Humiliation and loss of power is never a joy.

But this is what makes her someone you like better.

I highly recommend this documentary.

RECOMMEND

This film gives a fascinating and enlightening portrait of the last Queen of Iran, Farah. I knew very little about her prior to viewing this film, but now I feel as if I know her intimately. The filmmaker definitely treads a fine line between wanting to confront the Queen with the Shah's transgressions and viewing the Queen as an elegant and refined woman whose life of luxury and privilege has ultimately turned to be one of disappointment. By the end of the film the hard questions have been asked and answered; whether or not the viewer chooses to accept the explanations is up to him or her. It is very obvious to me that, despite the oppressions imposed during the Shah's regime, Iranians would be far better off today were they still under his rule instead of being a theocracy run by evil zealots.

Not much substance here. Persson's background is most interesting. After her brother is killed under the Shah, the Commie revolutionary flees Iran and sneaks into Sweden with a fake passport. I would have loved to have seen a movie about Persson. Instead, we get a puff piece of Evita style worship. Persson eventually works up her nerve to ask Farah about oppression under the Shah. Farah replies with a confusing mishmash excuse of paranoia about Russia! Persson mentions SAVAK, Farah plays down its power, and that's about it. What should be the crux of the movie only gets a minute mention. Persson was scared that if she offended Farah, she wouldn't have a movie to make. An interesting doc, but not a hard hitter.