Comments on 'Persepolis'

'Persepolis' tells the story of Marjane Satapri, an Iranian women, and spans three decades. Conflict is present throughout the story, from the protests against the Shan of Iran (which her family are heavily involved in) and the Iran-Iraq war, to later fighting for her own beliefs during a university assembly. What is most striking, but obvious, is the use of graphic-novel style used to prevent this imagery. As a viewer, I was tricked into noticing some comic moments. I say tricked as a high volume of these images really should not have been found comic, including Marjane and a group of young children chasing a boy with a nails in their hands so they can 'poke his eyes out' after hearing of torture methods that Marjane's uncle experienced in prison (it shows how easily influenced children can be) and the desperation to hide alcohol after almost being raided by Iranian soldiers. Maybe this is why, however, that the filmmaker has decided to use this graphic novel style (the film itself is based on a graphic novel). These are serious issues that need to be addressed, so what better way to present it to a Western audience by showing it in a way that they at first think would be 'comic'?

The style of the narrative is quite episodic. An adult Marjane reflects on her past growing up during the revolution in Iran, and this presented when the years 1978, 1982 and 1992 appear alone on-screen, accompanied by either digetic music or Marjane's voice-over. Each year is soaked with political, religious and cultural influence, presented by clothing (the constant wearing of the Veil by Marjane and her friends in Iran), Marjane's constant conversing with a God-like figure as a child, showing her distaste for her loved ones being tortured and killed, and, most strikingly, the introduction of Western culture, and how it is seen by the Iranian soldiers and Nuns as something truly horrific. It is as if it has an illegal drug-like presence, and it can only be found with figures cloaked and shaded up, as if they are hiding something a lot worse (to Westerners, that is), aiding to present the conflict between East and West. Despite all of the aggressive matter directed towards young Marjane, she seeks comfort in her Grandmother, a figure who is certainly powerful in ensuring Marjane that identity is most important thing on earth, in a gentle fashion. The influence, however, appears lost when Marjane is sent to Vienna, Austria in an aid to protect her from the crumbling society of Iran. She has had a taste of Western culture, but now she engulfs herself in it, experiencing sex and relationships, all of which, lead to disappointment. Conflict eventually drives Marjane to homelessness, and a taste of serious illness enforces her to return to her Eastern roots.

Back in Iran, Marjane is able to share her opinion with confidence and fight for female equality during an assembly, presenting that she is in charge of her own identity after all. Her Grandma's influence cannot be forgotten. She has taken an influence and made it her own.