I’m literally speechless…
If you’ve seen my review of The Past, then you know by now
what I think of Asghar Farhadi. Despite having only been introduced to his
films via A Separation a few years ago, I think with just his two latest films
that he’s established himself as one of the great modern writer/directors. He
simply has an unmatchable talent when it comes to shaping natural and
realistically sensitive portrayals of familial conflict, and I was convinced
that he could do no wrong.
Then I heard news of About Elly, which was filmed before
either A Separation or The Past, and released in its home country of Iran in
2009. It wouldn’t make its way stateside until six years later following the
success of those two films, so you can bet I was impatient to finally see it.
Frankly, this movie is sensational.
I know I’ve used buzz words like that to describe movies
numerous times before, but this time, there’s no needless hyperbole behind
those words. Little did I know that this movie would have so profound an impact
on me, I would find it almost impossible to form a coherent review.
A small group of friends and family make their way from
Tehran to vacation in a countryside villa for the holiday weekend. One of the
guests is Elly, a schoolteacher, who has been invited at the insistence of the
mother of one of her students. As the collection of visitors are having a fun
time in blissful ignorance of more subtle events about to unravel, Elly
mysteriously vanishes mid-trip, and as the tension of the situation increases,
it isn’t long before accusations and secrets start boiling to the surface.
About Elly certainly shares in the same DNA as Farhadi’s
following two films, showing a graceful evolution into the mold that those two
films would later compliment. As I’ve said before, Farhadi’s most beneficial
talent is his graceful writing of family drama, which isn’t as pronounced in
its early stretches as it was in later films, but makes the most of its
strengths in how it flawlessly builds up to those more heated moments. Much of the
first half hour is devoted to very relaxing and lively interaction and jokes
between friends, allowing us to get properly acquainted with the characters
before plunging us into the more tense stretches later on. There’s a lot of
enjoyment to be had just watching these people interact through random chats,
bouts of silliness, and even games of charades, while also not ignoring the
very uncomfortable feelings such things may stir in relative outsiders like
Elly. After a while, you simply forget that these are actors, and just buy into
the illusion that these are real people you’re watching.
However, this peace cannot last. After a surprisingly
intense ocean sequence, the film kicks into high gear and sees Farhadi working
at the peak of his abilities. As always, one of Farhadi’s signature themes is
of the consequence of actions. With numerous arguments and differing opinions
being tossed around, it becomes a tricky evaluation of how best to proceed
following each new revelation around Elly’s mysterious disappearance. Even
quick judgments become increasingly common. This group barely knows a thing
about her, including the very person who invited her, so it’s smart of the film
to sit back and analyze the mindset of each character, whether Elly’s vanishing
is the matter of blind-selfishness and lack of honor, or something purely
accidental. It begs the question of just how much we truly know those around
us, but is also critical of another side to the situation… hypocrisy.
More than ever, Farhadi’s analysis of secrets takes a
crucial role in About Elly’s thematic constructs. As secrets become uncovered,
it paints even more uncomfortable an image of who Elly really was as a person,
but the film goes beyond her painted in an unfavorable image, to the point of
the family being painted just as unfavorably. I can’t reveal why without giving
significant portions away, but the film increasingly becomes very saddening in
the lengths to stretch truths and retain one’s own self-preservation, even if
it may come at the expense of someone who was an unfortunate victim of
circumstance. It’s a morally gray center of the film that has no easy or clear
cut answer, with varying responses of empathy to vitriol, but still retains the
sensitive attention to detail that makes Farhadi the artist that he is.
This is even further highlighted by how the performances
turn out. First things first, Golshifteh
Farahani gives one of my favorite performances in any movie ever. When we’re
introduced to her, she comes across as a very likable and kind-hearted soul.
Maybe a bit abrasive to her friend, as well as frequently trying to get her
together with one of the other group members, but still very well-meaning.
However, as the later revelations of the film come into play, the at once
well-meaning morality of the character comes into questionable attention. As
the film progresses, the way we see this character isn’t quite as innocent as
we once assumed, but it’s to Farahani’s credit that she excels at still
retaining a key sense of empathy to the character, as well as the guilt that
such a person may be forced to live with for the parts they play. Taraneh
Alidoosti makes what select screen time she has as Elly especially impactful,
hiding a lot of pent up anguish and secrecy behind her enigmatic presence,
leaving a haunting shadow over the rest of the film that follows. The many
supporting players are all terrific as well, with not a single weak link to be
found.
Bottom line, when all is said and done, About Elly is a
phenomenal experience, officially ranking as one of my top ten favorite movies
of all time. From the second this movie began, I was entranced. I was charmed
by every moment of wit and playfulness, shocked by every new realization,
utterly enthralled by every tense build up, engaged with every
fully-dimensional character, driven to sadness by the haunting grief it put me
through, always waiting to see what would come around the corner next, and the
second that it was over, I immediately wanted to experience it all over again. As far as I'm concerned, this film not only cements Farhadi as the best writer/director in movies right now, but ranks him among the all time great filmmakers.
It unsurprisingly earns my highest accolades. So, if you haven’t seen it yet... what are you
waiting for?
Watch it! Right now! Go! Seriously…
…
GO WATCH IT RIGHT N-
***** / *****
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