ROSEWATER (6 out of 10) Directed and Written by Jon Stewart; Starring Gael García Bernal, Kim Bodnia, Haluk Bilginer, Shohreh Aghdashloo, Golshifteh Farahani; Rated R for language including some crude references, and violent content. In wide release November 14. 103 minutes.
First things first: want to see this early? And do you live in the Austin, TX area? Then come on out Wednesday, Nov 12 at 7:30 p.m. to the Regal Arbor, 9828 Great Hills Trail Austin, TX 78759. Get your tickets here using the code ROBOTDVPQ and we’ll see you there!
Jon Stewart’s freshman attempt at directing and writing is far better than his incredibly non-impressive film-acting roles, but maybe not as successful as his career in comedy and television. But it is a great foray into filmmaking, displaying amazing insight into the world of political prisoners, torture, and media.
Based on Maziar Bahari’s “Then They Came For Me,” Rosewater is the true story of journalist Bahari’s 118-day imprisonment by the Iranian government for his coverage of the 2009 Green Revolution. “Rosewater” was the name Bahari gave to his interrogator, whom he sees as thug and intimidator at first and then eventually as just a cog in the machine of this oppressive state. After this realization, Bahari begins bamboozling Rosewater with made-up stories about Western decadence and his part in the Jewish media conspiracy, etc, eventually leading to his release.
When the film finally takes this more lighthearted turn, it becomes vastly more enjoyable. Before then, it has a dark, oppressive second act that is hard to watch. While not explicitly violent or bloody, the film successfully conveys how hard it is to deal with the psychological aspects of isolation and the mental tortures they place on Bahari.
In this, the acting talents of Gael García Bernal really come through. He is the centerpiece of this film and delivers a performance that make us feel what he is going through. He is buoyed, both cinematically and emotionally, by an amazing supporting cast. While in prison, Bahari imagines speaking to his dead father and sister, both of whom were also arrested as political prisoners, and his mother who, unbeknowst to him, is doing everything she can from outside to secure his release. His conversations with his absent family members really seal the deal on this film.
Stewart’s work as a director is also very good. There are times where he attempts to show the impact of social media and other forms of communication as tweets and hashtags show up in the reflected panes of storefronts Bahari walks by in downtown Tehran. Stewart obviously understand the importance of mass media and the role it has plaid in Iran’s Green Revolution (depicted in the film) but also other protest movements in the Arab Spring or Ferguson. He also understands the importance of satire and humor (obviously), and one of the clear messages we get from the film is the power of using humor to defang these oppressive governments and their institutions.
All that being said, this is not a perfect film. It gets really dark and plodding in the middle, but the payoff in the third act is largely worth it. However, in a quickly approaching Oscar season, this is likely to be quickly forgotten. Maybe Stewart can hope for a “Best Adapted Screenplay” award for his writing work here.
But for those interested in a heavy slog through the depressing world of political oppression, go check out Rosewater. And for everyone else, here’s Jon Stewart making fun of Big Shiny Robot:
6 out of 10