The crucial moment in the narrative . . . when Elly (Taraneh Alidoosti) flies a kite.
About Elly at first sight suggests a familiar narrative idea – a group of middle-class Iranians and their young families arrive in a resort area by the coast for a fun weekend away from Tehran. I thought that perhaps it would turn into a Big Chill type narrative when I realised that the group comprised old friends from university – but then Elly was introduced. She is the nursery school teacher of one of the children whose mother has invited her to join the group, hoping to introduce her to one of the men who has just returned from Germany after his divorce. Elly seems a little reluctant because there are three other couples and just the two singles, but is persuaded to join in with the general festivities. However, the group has already begun to tell ‘little white lies’, joking to the owners of the house they rent by the sea that they have a ‘honeymoon couple’ in their midst (i.e. Elly and the divorced man). The next day an accident involving one of the children threatens disaster and in the mêlée the others realise that Elly is missing. Has she fallen in the sea and been swept away, has she simply gone back to Tehran without telling anyone?
From this point on the narrative ratchets up the tension as each member of the group makes suggestions, some of which make the situation worse and eventually the group finds itself mired in a sea of white lies. No one is prepared to be totally honest. When the authorities are summoned to mount a search, they reasonably ask about Elly and it becomes clear that nobody knows her full name or anything about her background. Was she left in charge of the children? If so, surely somebody knows her background? Her family has to be contacted – but this only makes matters worse when Elly’s real situation turns out to be not quite what the group expected.
I found parts of the film to be almost unbearable – in the sense of those embarrassment comedies where you find yourself crying out “No don’t say that, it’ll only make matters worse!” It was at this point that I realised that the three Farhadi films in the festival reminded me to some extent of Mike Leigh’s work. They all feature a small group of central characters in a relatively closed social situation and social class difference is a crucial factor. The emphasis on social interaction in a limited number of locations makes the presentation of the narrative more like theatre – and both Leigh and Farhadi started by writing plays. There is also a use of certain actors across different films. ‘Elly’ is played by Taraneh Alidoost who was Roohi in Fireworks Wednesday and one of the men in About Elly, Peyman, is played by Peyman Moaadi who also plays Nader in Nader and Simin: A Separation. At least three other actors appear in two of the three films. The odd thing is that though I admire and respect Mike Leigh as a filmmaker, I don’t actually like his films that much – I find them rather cruel towards the characters. Perhaps that’s because I am so close to the culture that produces Leigh’s characters whereas Farhadi’s are necessarily ‘exotic’ and I can be a much more distanced observer. Does anyone else make this connection or is it just me?
Like Fireworks Wednesday, I see About Elly as a satire. In this case there are two targets. One is the ease of lying. In this YouTube clip Golshifteh Farahani, the star who plays Sepideh (the character who invites Elly to the weekend away) discusses the film. She is an actor effectively in exile in Paris who has been criticised for appearing in a Hollywood film (Ridley Scott’s Body of Lies) and she argues that lying is absolutely essential in repressed societies in order to survive – but of course eventually the lies become a kind of false reality. In this sense the film exposes a systematic mode of self-deception. The second target for the satire is the underlying structure of a society that encourages the ‘polite lie’ to avoid offence. This structure sets up complex codes to do with gender relations, religious sensibilities and social class distinctions. So in About Elly, many of the lies arise from a middle-class guilt about being ‘found out’ for doing something silly (i.e. not really checking up on Elly’s background before leaving her in charge of children – note that this isn’t caused by anything Elly has necessarily done, but rather by the fear that if she has done something wrong, others might think that the group had been negligent. Although this has a distinctiveness associated with Iranian society, we all recognise the blustering middle-class person who berates the police to conceal their own failings when we know the officials are trying to do their own jobs professionally. (This also makes me think of another British playwright with an international reputation, Alan Ayckbourn).
The more I think about About Elly, the more it resembles the other two recent films by Asghar Farhadi. ‘Polite lies’ – well-meaning lies, but also real lies that refute the painful truth – are at the heart of Fireworks Wednesday. In A Separation it is not so much about lies but it is about who to believe – with the arbiter becoming the courts. In all three films, it is an ‘outsider’ who is charged with protecting, ‘looking after’, the younger or older family members which in turn becomes crucial in the struggle within the middle-class family or group.
Shooting the scene featured at the head of this posting.
Asghar Farhadi is a major talent and we now need the three films discussed here to be more widely available as well as his two earlier features (as well as scripts and television work).
Website of DreamLab Films – French co-producer/promoter/distributor of Iranian films with resources on both About Elly and Fireworks Wednesday (English version of the site available.)
Trailer with English subs: