As a cinephile with a soft spot for films that delve into the heart of women’s experiences, I found “Reading Lolita in Tehran” to be a poignant and powerful narrative. The film’s portrayal of Nafisi’s journey mirrors my own experiences growing up as a secular Muslim woman, navigating the complexities of faith, culture, and societal expectations in various contexts.
The screenplay by Marjorie David is structured as a series of chronological episodes and sudden leaps through time that can seem unexpected at times, as it follows the life of Nafisi (played by Golshifteh Farahani) over a span of 24 years. We meet Nafisi in 1979, having recently returned to Tehran with her husband Bijan (Arash Marandi), after completing her studies in the United States, following the Islamic Revolution in Iran. A brief title card at the beginning sets the scene for their return to their homeland, which was a time of optimism in Iran, as many Iranians living abroad were drawn back by promises that ultimately proved false.
Initially, Nafisi finds herself at a distinguished university in the capital city, teaching both men and women literature, including works like “Huckleberry Finn,” “The Great Gatsby,” “Pride and Prejudice,” and “Lolita.” These books are also used as titles for the film’s chapters. Initially, only a handful of the female students or passersby wear traditional Islamic attire such as hijabs or headscarves. However, as the story unfolds, there seems to be a growing conservative sentiment in the air, with men using increasingly assertive language about women’s dress codes. A male student even boldly declares, “One day, it will be the law,” causing several outraged but speechless women to stand by in disbelief.
Nafisi persists in leading her classes, encouraging her diverse students, including men, to ponder the ethical dilemmas central to the literature she chooses. However, the conservative religious group doesn’t hesitate to make their presence felt and challenge the academic content of her course. Posters around the university demand a “Purification of the curriculum,” targeting the freedoms of secular women who maintain their traditional attire. When a male security guard stops her due to her uncovered head, Nafisi responds, “My grandmother, who was one of the most devout Muslims I knew, never missed a prayer. She wore her scarf out of religious observance, not as a symbol.” This scene resonates powerfully in “Reading Lolita in Tehran,” echoing similar experiences and debates I’ve personally encountered about the pressures women face in societies where Muslims from various backgrounds coexist, each with their unique perspectives on faith expression.
In a less heavy-handed manner, certain scenes seem overly emphasized in their portrayal of the film’s themes. For instance, there’s a discussion among female students where they draw parallels between the oppressive streets of Iran and the abusive Humbert character from “Lolita,” which feels excessively obvious given the film’s central theme. Similar instances occur when the storyline unexpectedly jumps from the ’80s to the mid-’90s, yet there are minimal changes in clothing or hairstyles. However, Riklis manages to create poignant and personal moments between Nafisi and her students, such as when she leaves her university job to secretly teach literature to a group of eager women. The film boasts an impressive ensemble cast with Mina Kavani (“No Bears”) as Nassrin and Zar Amir Ebrahimi (“Holy Spider”) as Sanaz.
In the open world, they bravely face patriarchy, contempt for women, and physical abuse – a depiction of Sanaz’s medical appointment and the appalling violence inflicted upon her stands out as particularly heart-wrenching. However, within the secure surroundings of Nafisi’s home, adorned with lush displays of fruits and pastries (artistically captured by Hélène Louvart), these women delve into their innermost feelings through literature, share their struggles, express themselves through song and dance, and debate enlightening concepts, including sexual liberation.
Elsewhere in his portrayal, Riklis reveals the ordinary life of Nafisi, filled with suppression she’s come to accept, similar to watching a heavily edited version of Andrei Tarkovsky’s “The Sacrifice”. The narrative further presents Nafisi’s friendship with an enigmatic figure (Shahbaz Noshir), a fellow intellectual she encounters during a street protest escape. This mysterious man becomes more than just an acquaintance, serving as a mentor to Nafisi. Riklis delicately follows the evolution of their emotional bond and rapport, subtly suggesting a hint of sexual tension between them.
Similar to films like “Shayda,” “The Seed of the Sacred Fig,” and others portraying diverse stories of Iranian women worldwide, “Reading Lolita in Tehran” takes on a political dimension when viewed in light of the real-world events surrounding Mahsa Amini’s death in 2022. Amini was reportedly beaten by police for failing to wear her headscarf as required, an act that led to global protests. In two significant scenes, Riklis subtly references Amini as Farahani looks in the mirror, puts on a headscarf, and then removes it. The film concludes with Nafisi’s return to America in the early 2000s due to her unwillingness to raise her children in an oppressive environment. While Riklis’ adaptation may not fully capture the emotional intensity of Nafisi’s story, it still presents as a commendable, rebellious, and profoundly feminine exploration.
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2024-10-25 08:46