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Show Film Thursday, February 7, 2008 Animated film is larger than life "Persepolis" Sony Pictures Classics Written and directed by Marjane Satrapi and Vincent Paronnaud, based on the graphic novel by Marjane Satrapi Starring the voices of Chiara Mastroianni, Catherine Deneuve, Danielle Oarrieux and Simon Abkarian Rated PG-13/95 minutes •••• Rachel Adams REDUX WRITER "Persepolis" is a wonderfully moody film—a deft mixture of humor and heroism, the thrilling and the mundane. Reminiscent of "Pan's Labyrinth," this film similarly chooses to temper a subject as terrible and adult as war by showing it through the lens of childhood. But while "Pan's Labyrinth" turned adult ideas of heroism and sacrifice into the stuff of fairytales (with depressing results), "Persepolis" turned a child's ideas of God and heroism into the stuff of real, everyday choices. To those who object to subtitles, I say, your loss (however, there will be an English-dubbed version available at some point, starring Sean Penn, Iggy Pop and Gena Rowlands). To those who think animation is just for children, I have a more substantial reply: Based on the autobiographical graphic novel of the same name, "Persepolis" is definitely not for children. Rated PG-13, it deals with sex, drugs and, of course, war and death. The beautiful, atmospheric drawings set the perfect stage for the events of the story, allowing the comic and the horrific to fluidly intermingle (as they tend to do in real life), drawing attention away from the foreign aspects (for example, the veils which all women are mandated to wear by Islamic law) and allowing the viewer to immerse oneself completely in the story—the comingof-age of a young girl in war-torn, religiously oppressive Iran, We've seen plenty of political thrillers during the past couple of years: "The Constant Gardener," "Babel," "The Kingdom," "A Mighty Heart"—all of these are depressingly relevant "Persepolis" and inevitably begin to weigh down the moviegoer (or haven't you had your fill yet of badnews documentaries, such as "No End in Sight" and "The Body of War?") Fortunately, "Persepolis" feels more like a coming-of-age story than a political drama, thanks to the spunky young Marjane (Chiara Mastroianni), whose humorous viewpoint throughout the movie adds new flavor to an old stew. Don't expect to be exonerated, though. The once refreshing, now familiar sight of Americans as the bad guys shows up in this film, and the somewhat abrupt ending leaves the viewer with a sense of responsibility. The problems are still there, "Persepolis" says. Who will do something about it? • Granted, "Persepolis" isn't perfect: There were a couple of moments where the story dragged (for example, the existential crisis, a French staple that rarely finds a comfortable place in American film). After all of the politics throughout the movie, a call to action of sorts might be expected, and the lack is felt (as I said earlier, perhaps this is a good thing). I think I'm safe in applauding "Persepolis," though: It won the Jury Prize at the 2007 Cannes Film Festival and is nominated for an Oscar in Best Animated Feature Film (for some reason "Persepolis" was not nominated for Best Foreign Film, although you'll find it on countless "Top 10 Films of 2007" lists from critics across the country). The voice-overs are wonderful (with Catherine Deneuve as Marjane's mother, Danielle Darrieux as her grandmother and Simon Abkarian as her father), the characters are welldrawn (literally and figuratively) and rich, the story both incredible and down-to-earth. It's hard to talk about direction in an animated film, but the art direction was amazing. The animation, although simple, was so evocative and vivid I could swear that as the little white flowers fell across the screen at the end of the film, the smell of jasmine floated over me. I became such a part of that two-dimensional world that standing up and walking out of the theater, the three-dimensional world seemed new. r.adams@ chronicle.utah.edu The indie flick isn't 'Savage' anymore class white people are neurotic, selfinvolved a*******. Someday, this kind of movie might be totally retro—and therefore cool. Right now, it is just an antiquated formula that lost its edge years ago. The conventions have been tried and re-tried, perfected and copied so that the angsty indie movie has become the new romantic comedy, the new biopic. Focus groups might have even been involved—at least in as much as Sundance audiences eager to heap praise on indie movies C. Glen Bellamy with big stars count as focus groups. REDUX WRITER "The Savages" is an astoundingly "The Savages" is enlightening only obvious story of brother Jon (Philip inasmuch as it exposes approximately Seymour Hoffman) and sister Wendy two-thirds of the stereotypes that have (Laura Linney) struggling to reconcile come to be associated with indepen- their petty jealousies and artistic indent cinema. All we need are teenag- securities while dealing with a father ers, suicide and pot-smoking, and I (Philip Bosco) who is slipping away think we'll be all set. with a serious case of dementia. Old Like (insert Sundance movie here), resentments and secrets bubble to the "The Savages" is one of those Ameri- surface and the two siblings—who can can fables built on angst, insecurity never be honest with one another or and artistic/existential struggle, and even themselves—slowly begin to reexists inside the underbelly of an up- pair a relationship fractured by time per-middle-class suburbia crumbling and distance. You're never going to believe this, but by the end of the film beneath its bright, plastic exterior. Consider the clever irony of writ- they arrive at some common ground, er-director Tamara Jenkins1 visually understand each other more fully and immaculate suburbia. Consider the are both the better for it. characters' last name—"Savage"—that What "The Savages" has going for it reinforces (to them and to us) their is the performances of its lead actors— own self-loathing. Consider the timely in particular Hoffman, arguably the references to political vernacular. best actor working. Here, he takes a All of this might have been clever largely pedestrian character (in terms years ago, but now it's old hat. Yet of Jenkins' script) and turns him into films still haven't quite moved beyond an empathetic, if severely flawed, charit. "The Savages" is one of a plethora of acter who overcomes the trite screenworks that desperately thinks it's edgy play cliches. or emotionally complex, when in realLinney—whose character sleeps ity it simply goes through the motions. only with unavailable men and is so in(Consider the text and theme song of secure about her abilities that she lies that popular-yet-mindless "Showtime" about getting a lucrative, high-profile series, "Weeds." Go ahead—listen to grant—and Bosco are equal to the task, the opening lyrics. Do you get it?! Do and are the only aspects of the film that you get the satire?! Isn't it clever?!) hold the film above water. Let's be honest: "American Beauty" What "The Savages" lacks is any idreally never pushed the envelope that iosyncrasy or angle that might make much, and that was nine years ago. We this kind of familiar material seem get it: Suburbia is a phony, corrupt fac- more urgent or original than it does. simile for American life, and middlec.bellamy@chronicle.utah.edu "The Savages" Fox Searchlight Pictures Written and directed byTamara Jenkins Starring Philip Seymour Hoffman, Laura Linney, Philip Bosco, Peter Friedman, David Zayas and Guy Boyd Rated R/113 minutes Opened Feb. 1,2008 The Diving Bell and the Butterfly" True story, true spirit ing life. The "butterfly" is his mind as it is free to travel and proves to be the symbol of Bauby's triumph over his situation. When physical and speech therapy prove to bring about little improvement, Bauby develops a system of communication with the help of a devoted nurse. The system involves Bauby's spelling out the sentences he wants to say by having the nurse read through the •••* alphabet and Bauby's blinking to indicate the correct letter. A painstaking process at first, the two soon Sam P o t t e r become quite proficient. Bauby REDUX WRITER moves through a grieving process, It's become almost a running beginning with denial and anger, joke that when a "disability" movie then coming to grips with his situcomes along, it's sure to snag some ation and making the best of it: He attention come Oscar time. The decides to turn his experience into record holds true: films such as a book and hires a "translator" to "Rain Man," "The Sea Inside" and put his thoughts to paper. "My Left Foot" sucked in statuettes Watching Bauby's struggle to like a Dyson vacuum. Although break through the prison of his the artistry and passion that went body to communicate with the outinto those fine films is undeniably side world is an intensely fascinatexceptional, this repeating pattern ing experience. Schnabel's inspired can't help but seem a little cliche. direction received an Oscar nomiThe latest addition to the dis- nation, an accolade that is validated ability oeuvre, Julian Schnabel's from thefilm'sopening frames. The "The Diving Bell and the Butter- first 30 or so minutes of the film fly," improves upon the genre's are shot entirely from the disabled conventions through the beauty of Bauby's point of view. its artistry and creative approach Acclaimed cine mat ographer and that take you right inside the mind Spielberg go-to-guy Janusz Kaminof the victim. The film is adapted ski ("Schindler's List," "Saving from the memoir of the same name Private Ryan") uses a wide variety written by former Elle magazine of odd lenses, focusing tricks and editor Jean-Dominique Bauby, who dreamy lighting to convey the sursuffered a stroke in the prime of his real experience of waking up to a life which left his entire body para- horrible new way of life. We hear lyzed save for his left eye. Bauby's thoughts in voice-over The title for both Bauby's novel throughout the film and experience and the film is derived from his the discoveries and realizations of description of his experience as his new sphere of existence just as being trapped in a "diving bell," or he would. These scenes are frightthe metallic helmet worn by deep- eningly realistic,, particularly for sea divers. Bauby felt that he was anyone having undergone a similar trapped inside of the suit in a vast experience. Schnabel's deft touch and endless ocean. This is his wak- with these scenes creates a cine"The Diving Bell and the Butterfly" Miramax Directed by Julian Schnabel Written by Ronald Harwood, based on the novel by Jean-Dominique Bauby Starring Mathieu Amalric, Emmanuelle Seigner and Marie-Josee Croze Rated PG-13/112 minutes matic experience like no other I've seen before. As the film progresses, Schnabel moves from the first person perspective to an omniscient point of view, allowing us to observe Bauby's facial reactions (or lack thereof) in his interactions with his family and delving into Bauby's vast landscape of dreams, desires and memories. After a period of grieving, Bauby comes to a profound realization, "Though most of my functions are paralyzed, there are two that thankfully are not: my imagination and my memory." We are shown fragments of Bauby's past life in flashbacks, culminating with the experience that ultimately put him in the "diving bell." These segments were particularly moving, not because of the sadness of Bauby's loss, but because they reminded me of how important it is to appreciate our human minds.. The gift of imagination, creativity and memory are invaluable, and might be our most prized possessions. "The Diving Bell and the Butterfly" is an inspirational and ultimately hopeful film about the uncanny ability of the human mind to triumph over seemingly hopeless odds. If the film falters at all, it's in its length. At nearly two hours, the scenes began to come in a monotonous and slightly tedious pace, bouncing from Bauby spelling out words, to friends and family, to some distant memory, to the progress of his book. Although visually striking and containing profound symbols and statements about humanity, the film would have benefitted from some judicious snipping. However, the experience ultimately is as satisfying as any story of the triumph of the human spirit and among the most creative I've seen. • s.potter@chronicle.utah.edu . "The Savages" |
