After a brief (albeit important) animated storyboard introduction that contextualizes the events of 1979 with some history, it is the storming of the American embassy which begins both the film proper and our exposure to the Iranian revolution. You wouldn't know from this film that, despite years of persecution during Iran's westernized government, the communist Tudeh Party was also out organizing workers' strikes during the turmoil of the Shah Pahlavi's overthrow. The movie does stress that the U.S. helped overthrow the democratically-elected prime minister Mohammad Mossaddeq in 1953 because he dared to nationalize Iran's oil, and then backed the Shah and his use of the notorious SAVAK secret police to kidnap and torture the Shah's opponents. These are obviously excellent points to make. But Argo glosses over the diversity of opinion in Iran and the intellectual ferment before the theocratic lockdown, making the culture look exactly the way an insular American public has come to believe all Islamic countries look. The film offers only scant insight into how the Islamists came to win over a country that had previously been quite secular and sophisticated.
Very, very few Iranian characters are individualized in Argo, and most of the time when we see Iranians on-screen, their words are not translated for us. Take Farshad Farahat's character. He is an officer in the Revolutionary Guards, one of the final terrifying obstacles the escaping protagonists must face at the airport. Farahat tries not to play stupid or cartoonish like so many ethnic villains in Hollywood movies, but most of the little he has been given to say is un-translated, so Farahat has to do almost all of the work with his eyes. The movie apparently never intended much more for him: his character's name is merely "Azzizi Checkpoint #3".
Another Persian, Reza (Omid Abtahi), makes an appearance in the marketplace in Tehran. His defining characteristic is whether the Americans can trust him. When he is friendly, his words are translated. When an altercation breaks out, there are no subtitles.
And even the point of the jokey snippet of dialogue that is translated seems to be to mock his idea of a Hollywood movie even more than Argo sends up the fake sci-fi B-movie. This dialogue emphasizes his cultural Other-ness, making him sound as sexist and out-of-touch as a Sacha Baron Cohen creation.
Nowhere, in a caper that exists in part to celebrate movie magic, is it mentioned that Iran has its own cinematic tradition -- though if the Argo creative team had ever seen the award-winning 1992 tribute film Once Upon a Time, Cinema they would have seen clips from old Iranian movies dating all the way back to the silent era. By the time Argo is set, a number of Iranian film festivals had been in existence several years, including the Tehran International Film Festival 'to promote the art of Cinema that expresses humanitarian values and promotes understanding and exchange of ideas between nations'. And there were already several film and television schools in Iran, including a decade-old government-financed School of Television and Cinema which students attended for free. 480 feature films were made in Iran between 1966 and 1973; filmmakers, like other Iranian artists and intellectuals, had plenty to call attention to under the Shah's oppressive regime. In fact, the Iranian New Wave, which launched in 1969, should have been known to Argo 's Foreign Service professionals who had spent their leisure time in Tehran; with filmmakers as respected as Dariush Mehrjui and Abbas Kiarostami already active. By the late seventies, movies were already the key form of mass entertainment in the country. Yet Affleck has the Revolutionary Guards gawking and giggling over the storyboards and poster for the fake Hollywood movie like awe-struck children.
Still of Sheila Vand and Ali Saam in "Argo"
The most important Iranian character in the film is the young and beautiful Sahar (Sheila Vand), the housekeeper to the Canadian ambassador and his wife who secretly harbor the 6 American refugees. But calling her the most important Iranian character is not saying much -- and neither is Sahar. Over a handful of scenes she may have a grand total of 3 lines. In this case they are translated, because they are relevant to the plot. Her character, however, is defined by her attitude toward the Americans. She also may be the only kind of Iranian the movie is interested in individuating because she is separated from her society, ensconced in a Western household.
Sahar also reflects a class differential that accompanies the chasm between nations in Argo. Apart from a smooth-talking, sinister heavy Ali Khalkali (Ali Saam) who presides over a cultural portfolio in the new government, we see only guards, soldiers, merchants, a guide, a domestic worker, and unspecified mobs in the street. By contrast, the American characters are either professionals or have highly skilled jobs: CIA agents, State Dept. officials, members of the Foreign Service, and Hollywood above-the-line talent or artisans. Thus the overall picture of Argo 's Iranian characters as second-class is exemplified even through their occupations. Note that this is very much at odds with the value system Iranian-Americans often express, cherishing educational accomplishments and taking great pride in professional status.
In a somewhat similar vein, Argo does not make it clear that the storming of the embassy was carried out by militant students -- and only a few years after a wave of occupations in the U.S., albeit usually considerably more non-violent, by students and militants. We absorb only an impression of an amorphous, frenzied mob. By contrast, U.S. news media corporations covering the 2011 Green Revolution in Iran made sure we knew about the youth component in that movement -- because they wanted to help American viewers identify with the protesters, and to make them seem rational.
Next Page 1 | 2 | 3 | 4 | 5 | 6
(Note: You can view every article as one long page if you sign up as an Advocate Member, or higher).
2
1
1
