Episodic Presentation with Communist Subtext
Release Date: December 25, 2007
Starring: The Voices of Gabrielle Lopes,
Chiara Mastroianni, Danielle
Darrieux, Catherine Deneuve,
and Simon Abkarian
Audience: Older teenagers and adults
Runtime: 95 minutes
Distributor: Sony Pictures Classics
Director: Marjane Satrapi and Vincent
Executive Producer: Kathleen Kennedy and Marc
Producer: Xavier Rigault and
Writer: Marjane Satrapi and Vincent
Address Comments To:Michael Barker, Tom Bernard and Marcia Bloom
Sony Pictures Classics (Sony Pictures Entertainment)
550 Madison Avenue, 8th Floor
New York, NY 10022
Phone: (212) 833-8833
Fax: (212) 833-8844
Web Page: www.sonyclassics.com
After spending some time in France, Marjane grows horribly homesick and returns to Iran to be with her family. There, she encounters new challenges from the strict Muslim clerics running that country. She finds ways around their repression, but eventually must decide whether to stay or leave.
PERSEPOLIS is told in an episodic fashion, so the movie lacks a strong narrative line to carry viewers past the movie’s minimalist black and white animation. Also, the movie has a politically correct, Neo-Marxist outlook toward freedom. In fact, the main person who inspires the heroine’s sociopolitical views about freedom is her Communist grandfather, imprisoned first by the Shah, then by the Ayatollah. Thus, although this content is not portrayed in a didactic propagandistic manner, it does lead to moral, theological and political confusion.
Using animation to talk about the social upheavals in Iran during the last 30 years is very creative. It’s too bad, therefore, that the story has such a boring narrative structure. Also, the movie’s sociopolitical analysis is superficial at best, and Marxist at worst.
Artists who want to make political and social statements should study political science and world history in depth beforehand if they don’t want to look foolish to the true experts in the field. Of course, most movie reviewers, not to mention Hollywood executives, lack such proper training themselves, which probably is why PERSEPOLIS is getting more attention and acclaim than it truly deserves. Hopefully, with God’s help, the problems in Iran and the rest of the Middle East can be cured, or at least greatly minimized, by an increased understanding of, and love for, the Gospel of Jesus Christ and God’s biblical will for individuals and the society in which they live. True liberty under Jesus Christ opposes legalistic oppression, but it does not countenance moral rebellion and licentiousness.
PERSEPOLIS is told in an episodic fashion, so the movie lacks a strong narrative line to carry viewers past the movie’s minimalist black and white animation. Also, the movie has a politically correct, Neo-Marxist outlook toward freedom. In fact, the main person who inspires the heroine’s sociopolitical views about freedom is her Communist grandfather, imprisoned first by the Shah, then by the Ayatollah. Thus, while the movie is not didactic propaganda, it suffers from a lack of proper biblical, political and historical discernment.