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As an avid fan of comic books and comic film adaptations, I was rather excited for the latest release from Marvel Studios. Early screenings of Iron Man were met with the standard reaction from critics and fans alike, in that some felt that the storyline strayed to far away from the original comics while others found the originality of it intriguing and refreshing.
In the opening scenes of the film one thing is certain; this is a typical American action film. So much so that it appears over the type to the point of self mockery, which does work as Tony Stark, a.k.a. Iron Man, is built up as a rather extravagant and eccentric character.
The premise of the film centers on Stark and his weapons manufacturing empire. From the opening scenes in Afghanistan to the final showdown, Stark must come to terms with the fact that his empire has caused far more destruction than he could have ever imagined. After renouncing his ways as the 'Merchant of Death' he builds one last weapon to make things right.
The gradual progression of the film creates an excellent atmosphere as many comic adaptations normally reach the climax by unveiling the main characters abilities far too early. If the protagonist is revealed to early the film often becomes repetitive with over the top, CGI-based imagery; case and point Transformers.
The dialogue is light, but funny and always manages to keep a safe distance from cliché. However, moments occur where the tacky comic book genre shines through with over the top catch phrases and battle scene.
The construction of Stark’s suit parallels the character development nicely as Robert Downey Jr goes from portraying and arrogant, quick-witted, sarcastic weapons manufacturer to an arrogant, quick-witted, sarcastic superhero who looks to correct the errors of his past. Jeff Bridges, who plays Stark's supposed mentor, give an excellent performance in his darker than usual role. Aside from Gwyneth Paltrow, who gives a rather abysmal performance, the acting is sound on all ends and gives the movie a nice feel.
The obvious parallel can be drawn as a shallow womanizing man creates a suit of metal to protect him and give him more power, but the film does well in this as these conflicts are what make comics and superheroes likeable. The beauty of the genre rest in that even those with great power are not perfect. The journey of self discovery coupled with some beautifully down actions scenes creates a highly satisfying film and leaves one optimistic for the upcoming comic films this summer.
Iron Man directed by Jon Favreau is playing at City Screens
Albert Testani
This adult animation, based on Marjane Satrapi’s graphic novels, tells the story of a girl growing up in Iran before and after the Revolution and the struggles she faced while her country, family, and friends fought around her.
Satrapi’s graphic novels are brought to life with inspiring simplicity yet elegancy. The warmth and magic emanating from the 2D black and white drawings is quite stunning and engaging. It is a film about growing up and coming of age. Iran goes through periods of transition: from dictatorial rule under the Shah to the repressive fundamentalist regime that replaced it, to the war with Iraq. But this is not a political film or even a history lesson because Marjane is also growing up. She is a young girl who loves Bruce Lee and her Adidas trainers. She questions everything and forms unshakeable opinions based on what she hears from her family.
Her family are liberal opponents to the regime and she idolises them for this. She starts acting in a way to make her uncle (who is executed) proud. She speaks out in class and buys illegal tapes of Iron Maiden. Her outspoken nature leads her parents to send her to Vienna to escape persecution in her homeland. She remains a child of Iran though, shown by her daily talks with a bearded God sat on a cloud in her room.
The contrast between religious fundamentalism and the freedoms she has in Europe confuses her: Iranians are dying for their faith while her school friends are nihilists. The most personal elements of the film are her brief love affairs in Vienna and this is where Satrapi’s involvement in the film makes it intimate and deeply personal.
This is also a film about the love for a family and homeland, despite the dangers. Persepolis was the ancient capital of Persia near Shiraz: a sign of Marjane’s undying attachment to her home. Her attempts to forget it in Vienna haunt her and she returns to Teheran. She sacrifices freedoms but Marjane is not a heroine. She is self-confident but also arrogant. She speaks out against injustice, especially against women, but when the police almost arrest her for wearing makeup she shamelessly accuses an innocent man of staring at her body and he is arrested in her place. She is flawed, but that makes her story all the more powerful. Iran does not need martyrs or perfect citizens, but individuals.
This is a beautiful film: the simplicity of the drawings merges effortlessly with the 3D backgrounds, even when the scenes are of senseless warfare and bombings. It does not preach about political matters but relates them to moments to her life. The only colour is at the end when she leaves Iran for good and is sitting in the airport (her final period of transition). In a world where nothing is as simple as 'black and white', this extraordinary film reminds us that we must all come of age.
Persepolis directed by Marjane Satrapi and Vincent Paronnaud is playing at City Screens.
Jonathan Wilkes
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