The Director’s Choice this year was the animated feature “Persepolis.” It’s essentially a biopic that follows the life of Marjane Satrapi, a young Iranian girl born into a progressive family during tumultuous times in Iran (the fall of the Shah, the reign of the Ayatolla and the Iran - Iraq war). Marjane goes off to Germany as a teenager to study abroad, but finds trouble ingratiating herself with other more carefree teens because she cannot escape the guilt of being away while her family and friends suffer back in Iran.
“Persepolis” is actually an adaptation of Satrapi’s graphic novel of the same name. Fortunately, the style of the film stays close to the aesthetic of the graphic novel. It’s very refreshing to see something that didn’t directly come from a 3-D computer animation program. The subject matter is obviously pretty heavy handed for an animated movie, and as other serio-animated movies like “Cool World” and “Heavy Metal” have shown us, these kinds of movies are hard to market. I personally like the fact that they are willing to take the risk to make a serious animated movie. And when I say they, I mean the French, and as we all know, those French people love to make “art.”
Oftentimes the pacing felt pretty slow, and I feel that has to do with the fact that American audiences usually associate animation with more plot-driven adventure tales rather than character-driven stories about relationships and historical tragedy. The most outwardly enjoyable scenes were the ones that used the animation to break reality, something that could never have been done as effectively in live action.
Writer/Directors Satrapi and Vincent Paronnaud have combined comedy and tragedy into a nice little piece of nostalgia. The only part about the writing that did not seem necessary was the fact that the entire movie was essentially a flashback. The first scene is Marjane at the end of the story, and we only go back to the present a few times, but we never learn any new information. The movie ends with her at the present, but does not go on from there. So what’s the point of doing this, to give the narration a line of reasoning? I feel that these pointless transitions back into the “present” only break the rhythm that the other scenes have going for them.
So, don’t go see “Persepolis” expecting an animated movie. Go to the movie and expect a great little character-driven biopic that happens to use animation to a good effect.
By Evan Watkins
Staff Writer, District
Wednesday, October 31, 2007
REVIEW -- Control
The only screening I couldn’t miss at this year’s SCAD Film Festival was Anton Corbijn’s “Control.” Since Chuck Klosterman’s “Killing Yourself to Live,” my intrigue regarding rock and roll suicide has grown into a minor obsession. Being a Joy Division fan also played an obvious role in my viewing desire. My expectations were exceeded – “Control” is a powerful and enlightening biopic of the Ian Curtis story I had only heard about in record store conversations of the past.
“Control” tells the dark story of Joy Division vocalist and songwriter Ian Curtis. Much of the film draws from Curtis’ widow‘s memoir, “Touching from a Distance.” Curtis faced problems unlike most glorified rock star suicide scenarios – understandable and ordinary situations of the rotten side of life. Unavoidable health issues, a long list of side effects, and hard-to-escape marital issues plagued his existence and inspired his music. Ian Curtis’ life isn’t something to criticize, and as such, neither is the premise of the film. The story itself is rather sad and unrewarding in the end (as suicide usually is); however, Corbijn’s recreation is accurate, classy and moving.
Sam Riley portrays Curtis with frightening accuracy. He speaks, sings, seizes and dances (read: seizes) as if Curtis were resurrected within his body. The film accurately represents the story visually and literally as a result of the film being based on Deborah Curtis’ rock wife memoir. This all goes without mentioning that each rendition of a Joy Division concert is a true cover by the band’s cast film members. The film nails down the varying, floating and rumor-ridden renditions of Ian Curtis’ life, bouncing around living rooms and music shops in two black and white hours.
Classy filmmaking is not understandably hard to come by. Tasteful typography, screenwriting trimmed of excess and a careful eye behind the camera is intrinsic to a worthwhile film, especially a biopic of a serious subject. Corbijn’s background as Joy Division’s main photographer and creator of the prolific and dramatic images related to the sound of their music lends “Control” stylistic success. The film’s simplicity of production complements the complex and depressing life of Ian Curtis.
Although the subject matter of “Control” is melancholy, the film is both an enjoyable and thought-provoking experience that knocks the cliché of the downward-spiraling rock star lifestyle. Riley portrays Curtis with a truth and innocence not characteristic of self-destructive pop musicians, resulting in a character the audience can relate to unexpectedly. Curtis was overwrought with a pain and suffering we can see ourselves in. Riley brings that pain to the screen with an honest attempt at exhibiting Curtis’ loss of “control,” and succeeds.
“Control” is best music-related biopic I’ve seen. It stylistically matches the subject matter. The acting is spot-on. The production’s tone is suitable for Ian Curtis’ life story. And it includes the first contextually correct use of Joy Division’s “Love Will Tear Us Apart” that I’ve seen in a film. “Control” moves an audience of post-punk fans as well as any other film-watcher demographic alike – it’s the story of someone whose talent exceeded their ability to control it.
By Brian Smith
Arts & Entertainment Editor, District
“Control” tells the dark story of Joy Division vocalist and songwriter Ian Curtis. Much of the film draws from Curtis’ widow‘s memoir, “Touching from a Distance.” Curtis faced problems unlike most glorified rock star suicide scenarios – understandable and ordinary situations of the rotten side of life. Unavoidable health issues, a long list of side effects, and hard-to-escape marital issues plagued his existence and inspired his music. Ian Curtis’ life isn’t something to criticize, and as such, neither is the premise of the film. The story itself is rather sad and unrewarding in the end (as suicide usually is); however, Corbijn’s recreation is accurate, classy and moving.
Sam Riley portrays Curtis with frightening accuracy. He speaks, sings, seizes and dances (read: seizes) as if Curtis were resurrected within his body. The film accurately represents the story visually and literally as a result of the film being based on Deborah Curtis’ rock wife memoir. This all goes without mentioning that each rendition of a Joy Division concert is a true cover by the band’s cast film members. The film nails down the varying, floating and rumor-ridden renditions of Ian Curtis’ life, bouncing around living rooms and music shops in two black and white hours.
Classy filmmaking is not understandably hard to come by. Tasteful typography, screenwriting trimmed of excess and a careful eye behind the camera is intrinsic to a worthwhile film, especially a biopic of a serious subject. Corbijn’s background as Joy Division’s main photographer and creator of the prolific and dramatic images related to the sound of their music lends “Control” stylistic success. The film’s simplicity of production complements the complex and depressing life of Ian Curtis.
Although the subject matter of “Control” is melancholy, the film is both an enjoyable and thought-provoking experience that knocks the cliché of the downward-spiraling rock star lifestyle. Riley portrays Curtis with a truth and innocence not characteristic of self-destructive pop musicians, resulting in a character the audience can relate to unexpectedly. Curtis was overwrought with a pain and suffering we can see ourselves in. Riley brings that pain to the screen with an honest attempt at exhibiting Curtis’ loss of “control,” and succeeds.
“Control” is best music-related biopic I’ve seen. It stylistically matches the subject matter. The acting is spot-on. The production’s tone is suitable for Ian Curtis’ life story. And it includes the first contextually correct use of Joy Division’s “Love Will Tear Us Apart” that I’ve seen in a film. “Control” moves an audience of post-punk fans as well as any other film-watcher demographic alike – it’s the story of someone whose talent exceeded their ability to control it.
By Brian Smith
Arts & Entertainment Editor, District
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