The end of the Shah’s rule and the rise to power of the Ayatollah Khomeini and his euphemistically-dubbed Islamic Republic is seen through the eyes of Marjane Satrapi (voiced by Gabrielle Lopes as a child, Chiara Mastroianni as a teenager and adult), a young girl whose progressive-minded family strongly opposes the rule of both factions.

CRITIQUE

I hope Ralph Bakshi is fuming. I’ve sat through most of Bakshi’s output, which he has sworn up and down is genre-expanding and adult, but is more often than not just puerile and smarmy, seemingly intended for adolescent boys rather than a mature audience. And I’ve seen, heard or read interviews in which he complains about not being taken seriously and blames everyone he possibly can for the underwhelming response or downright failure of so many of his movies. I mention this because for all of Bakshi’s moaning, posturing and excuse-making, it is in fact possible to create an animated film for an adult audience and have it find that audience.

Case in point: Persepolis. This French import, based on a series of graphic novels by co-writer/co-director Marjane Satrapi, is one of the most mature animated features you’ll likely ever see. There are no anthropomorphic animals getting stoned, no scantily-clad women who exist for no reason other than to be ogled, and no sniggling sex jokes. No, all Persepolis has to offer is wisdom, a solid emotional core, and a deeply affecting story.

In fact, it ranks alongside Grave of the Fireflies as on of the most intelligent and moving animated films ever to grace the silver screen. But unlike Grave of the Fireflies, Persepolis is funny and entertaining, and it’s also a more universal work, with a central character so recognizable and relatable that it’s hard to imagine anyone who couldn’t identify with her in some way.

The above plot synopsis only touches the surface of the events of this film’s plot. Persepolis is a coming-of-age tale, a story of enlightenment, and a journey of self-discovery all rolled into one. It is, by turns, tragic, dramatic, bawdy, and incredibly funny. But it shifts between tones easily, always maintaining an air of truth. Regardless of when or where we find Marjane, it always seems real. Although not strictly autobiographical, much of the plot is fueled by the events of Satrapi’s life; I have no idea what is pure truth and what has been invented or fictionalized, but everything rings true.

From the first glimpse of the young Marjane, as she harasses a relative who’s just returned from France, on through the adult Marjane’s time in the same country, there’s not a false characterization, thought, action or line of dialogue. And while I think everyone will find something recognizable here, I think people of Marjane’s age will find many of the particulars of the story add further resonance.

I’m only a few months younger than Satrapi and I was startled to discover that a woman who grew up under an oppressive fundamentalist Islamic regime shared a similar path in musical tastes. One of the biggest laughs I’ve had in a long time comes from a sequence in which Marjane warbles a song that, depending on your point of view, is either a seminal ‘80s classic or one of the worst examples of musical mediocrity ever committed to 3/4-inch audio tape. It’s a small thing, but I think it’s one of those small things that need to be recognized and acknowledged.

The animation itself is beautiful in its simplicity, composed of unadorned linework and colored primarily with bright whites, jet blacks, and ashy grays. It’s more refined than Satrapi’s drawings in the graphic novels (which recall the very early years of the Peanuts strip), but it (intentionally) doesn’t even attempt to resemble what you’ll see in most modern 2-D animation or anime. It’s perfect for this story, as it resembles something a child might conceive, which ties it to Marjane and provides both a wonderful counterpoint to the darker aspects of the story and a perfect vehicle for the more comedic and surreal moments.

Furthermore, it is also amazingly fluid; take a look at the scene in which the two women confront Marjane about what she has scrawled on her jacket or any of the sequences in which she speaks to God. It’s nice to see that even though traditional cell animation has been relegated to the realm of television in this part of the world, someone somewhere is still exploiting its virtues.

I imagine many people will dismiss Persepolis as a political tract, but that’s a baseless assumption. Despite the fact that a political struggle is the backdrop of the story, this is by no means a political film. Yes, some members of Marjane’s family are imprisoned because of their political leanings, and Marjane herself is constantly at odds with the ruling party and their ridiculous laws, but I’d say this is still the story of a large part of one girl’s life, a life that just happens to unfold in a politically-charged time and place.

Arguably the most overt political content comes in the form of a couple of painfully knowing jabs at the duplicitous role Great Britain and America played in cultivating the climate that led to the Iran-Iraq War, but even these are presented simply to provide context. Persepolis of about the Iran-Iraq War (or the current state of that region) in much the same way Citizen Kane is about the newspaper business. In other words, it’s not.

THE VIDEO

This Blu-ray disc presents Persepolis in a wonderful 1.85:1/1080p transfer. The rich blacks, stark whites, and charcoal grays that dominate the visuals are perfectly rendered here, as are the bold primaries in the framing sequence, and every detail that comprises the drawings is readily visible. CG animation often looks stunning in high-def, but this transfer proves that traditional 2-D animation can look just as good.

THE AUDIO

Like most animated features, the soundtrack for Persepolis is a meticulous piece of audio mixing. The French Dolby TrueHD 5.1 track included here is the sonic equal of the transfer, supplying a truly outstanding listening experience. The mix wavers between intimate dialogue scenes and the thunder of war (the former outweighs the latter), with each extreme coming through magnificently.

Dialogue is given perfect placement in the mix, and surround action--in terms of music placement and discreet effects--is immersive and enveloping. An English Dolby True HD 5.1 dub is also included; Mastroianni reprises her role, as does Catherine Deneuve (who just so happens to be Mastroianni’s mother), who portrays Marjane’s mother, while other voices are provided by the likes of Gena Rowlands, Sean Penn, and Iggy Pop. I strongly suggest you skip it and stick with the French track.

English, English SDH, and Spanish subtitles are available. (Speaking of the subtitles, the ones here are presented in a white font that can be a little hard to read at times. I still can’t fathom why everyone just doesn’t go with a yellow scheme. Yellow subtitles are never difficult to read.)

THE EXTRAS

The Hidden Side of Persepolis (30 minutes) is an excellent look at the making of the film. Satrapi and Paronnaud begin by discussing how they first came to collaborate, after which we get a look at the animators at work, the actors recording their lines, etc. The story’s background is also explored, as are the films that served as influences for the visuals (the works of Murnau and Lang are mentioned more than a few times). 

Behind the Scenes of Persepolis (8 minutes) is the only piece of bonus material not worth your time, coming across as an afterthought when compared to the other features. It’s largely a look at the recording of the English version, showing Iggy and Rowlands at work and allowing them to discuss their reaction to the material. It also touches on some of the story’s background and the film’s visual influences, but not enough to be truly satisfying or informative.

2007 Cannes Film Festival Press Conference (30 minutes) is exactly what the title indicates. Satrapi, co-writer/co-director Vincent Paronnaud and several members of the cast and production team sit down with journalists before a screening of the film and answer a wide array of questions.

Animated Scene Comparisons (11 minutes) offer a look at the animatics for four excised/alternate scenes from the film, contrasting the animatic concepts with snippets of finished animation. Some footage from early pencil-and-ink tests is also mixed in. Satrapi provides optional commentary for this material.

The commentary on select scenes by Marjane Satrapi, Vincent Paronnaud, and Chiara Mastroianni allows each of the participants to discuss one scene; Satrapi comments on the opening sequence, Paronnaud covers Marjane’s arrival in Vienna, and Mastroianni explains her approach to the aforementioned musical number.

FINAL THOUGHT

Not to repeat myself, but Persepolis is a beautiful film on every level. You owe it to yourself to seek it out.