Chicken with Plums (2011) User Reviews

Review: Chicken with Plums (2011)

[TheDelusionist · 7/10 · 5 June 2013]

Nasser Ali Khan (Mathieu Amalric) is a famous Iranian violinist; whose life takes a dark turn after his violin is destroyed. Unable to find a suitable substitute for his invaluable instrument Nasser Ali decides there's only one thing left to do: Die. After considering different methods to end his own life, he decides that waiting for death to come to him is the one that makes most sense. In the eight days preceding his earthly departure Nasser Ali reflects upon his life, his art and the love of his life. In what seems like a series of fever dreams the filmmakers progressively let the viewer in on Nasser Ali's mind and life story.

Whimsical, sweet and romantic Poulet aux prunes is a thoughtfully composed film, with a lot of heart and a typically French sense of humor. As these kinds of films go it is more interested in the little character quirks and moments they share with each other, rather than big action or plot. The charming screenplay and great command in the directing department make this film a mature effort, that reveres and references foreign fare: Namely Italian cinema and the beautiful Sofia Loren. The film is sustained by strong performances by all of its lead actors. For a film about a musician the score of Chicken with Plums is great towards the end and climax of the story, but in one instance it felt they were imitating Steve Jablonsky's My Name is Lincoln. Story-wise I think the ending is a bit abrupt and somewhat unresolved. The pieces of the story all come together nicely, but you can't help feeling that something's missing.

Personally, I'm someone that values visually compelling films Chicken with Plums and would say Christophe Beaucarne's (DP on Mr. Nobody and Michel Gondry's upcoming Mood Indigo) cinematography definitely stands out; same goes for the art direction. It's especially fascinating how the filmmakers integrate animation and different filming techniques to craft over-stylized, almost exaggerated scenery. The almost "artificial" mise en scène is appropriate for the big emotions and 'larger than life' characters portrayed. Speaking of visions, I have to mention the heartbreakingly beautiful Golshifteh Farahani. I wish the story would revolve more around her character and the love story, because to me it is the most interesting part of the film.

Moviegoers that don't mind subtitles and enjoy romantic films like Amélie (2001), Big Fish (2003) and The Fall (2006) will certainly appreciate this one.

Dark subject matter leavened with fantastic visuals

[brchthethird · 8/10 · 3 April 2015]

From the creators of PERSEPOLIS comes the tale of a man who loses all hope and decides to die after his favorite violin is destroyed. That might sound odd, but of course it is a gross oversimplification of what goes on in CHICKEN WITH PLUMS. The central character, Nasser Ali (Matthieu Amalric), does indeed lose his precious violin, but its significance is revealed is multiple flashback sequences which give him background, motivation and depth. I don't really want to spoil anything, so I'll just say that the end result is rather poetic and touching. From a visual standpoint, it continues from the same place that PERSEPOLIS came from, while imbuing it with lots of color and fantastic elements. The film feels like a fairy tale at times, with a sense of whimsy and free-flowing creativity that flies in the face of rather depressing subject matter. Matthieu Amalric does a standup job as Nasser Ali, bringing a certain world-weariness to his character as well as youthful optimism in the flashback scenes. Ultimately, by the end of the film you understand why Nasser has chosen to just give up (although I don't condone suicide). Thematically, I think the film works on a couple of levels. First, there is the surface story which is about losing hope and one's raison d'etre. However, with a character named "Iran," I also think that there is a subtle political allegory as well. The film takes place in the 1950's and references are made visually and through dialogue to indicate that Marjane Satrapi is making commentary on this particular period of Iranian history. She also takes some potshots at America that I thought were slightly uncalled for, although no less funny in the context of the film. My only real issues with the film are that the supporting characters are mostly sidelined and/or underwritten, and the narrative structure lends itself to being a little episodic at times. That being said, though, I was quite pleased with the end result and emotionally invested the whole way. Overall, CHICKEN WITH PLUMS is a delightful cinematic confection from Marjane Satrapi about her native Iran. The subject matter is kind of depressing, but plenty of visual sugar (along with some emotional heft) helps the medicine go down smoothly.

a quirky, interesting film

[richard-1787 · 7/10 · 5 March 2013]

This is a quirky, interesting film. I found parts of it more interesting than others, and some really quite beautiful. The sense of humor takes some time to develop, but when it does, it's quite winning. Those who are expecting another *Persepolis* will be disappointed; it is really very different, quirkier, and more uneven. But it definitely rewards attentive viewing.

One of the things I found interesting is that, unlike Persepolis, this movie really considers life from the perspective of a middle-aged man. Women here are either very objectified objects of sexual desire, or harpies. There are no intelligent women, such as one finds in *Persepolis.* That doesn't make the movie good or bad for me, but it was an interesting difference.

A Work of Art

[corrosion-2 · 22 November 2011]

Having enjoyed Marjane Satrapi's Persepolis, both as a graphic novel and a film, the lack of any buzz for her new film (also adopted from one of her graphic novels) had lowered my expectations for Chicken with Plums. Whilst Persepolis was a highly original piece of work, Chicken with Plums surpasses it in every way and is truly a great work of art. It is therefore fitting that it is a movie about art and artists. The simple tale of a musician whose only passion in a loveless marriage is searching for the perfect violin, is beautifully realized by Satrapi, her co-director and crew, and a sublime cast. A scene where the protagonist, near the end of his life, comes across his only true love, whose father had rejected his proposal to marry his daughter many years ago, is an unforgettable piece of cinema. I saw this at the Abu Dhabi Film Festival where it walked away with the Best Film prize, which it fully deserved.

Living for decades under the heavy boot of fate.

[aziaei68 · 6/10 · 11 November 2016]

The story starts in Tehran in 1958, then leaps backward and forward in time, roaming the globe, using the kind of visual flourishes and storytelling shortcuts that have more in common with a comic book than with an earnest indie drama. Just as the plot combines fantastical and biographical elements, some of it is reportedly based on Satrapi's own family legends, so the filmmaking veers from straightforward to more out sized. The tonal shifts don't always work. (A fake sitcom sequence bombs badly, for example.) But the nested narrative structure gives the movie a sense of inevitability, making it all the more powerful when Amalric's wife and kids try to figure out what could make him happy. What they don't realise is that his depression only has a little to do with them, and a lot to do with living for decades under the heavy boot of fate.

Extraordinarily beautiful and moving

[zetes · 9/10 · 3 March 2013]

A live action film from the directors of Persepolis. Like Persepolis, it's based on a graphic novel written by Marjane Satrapi. It's nice to see that Satrapi and Paronnaud have some cinematic legs. This is wonderful. Very, very sad, but also utterly gorgeous. Mathieu Amalric stars as an Iranian violinist who gets in an argument with his wife (Pulp Fiction's Maria de Madeiros), who then breaks his prized violin. Unhappy with his life, Amalric decides to die and retreats to his bed. Over the next seven days, his life story plays out before his eyes. The exquisite visuals will certainly impress viewers, but it seems like the depth of the story gets lost on many. It is, simply, a story about the missed opportunities in life and how they haunt us. The beauty of the visuals gives it a kind of magic, but, in the end, this is a very tragic story that will resonate with many.

Style vs Heart 1-0

[farrokh-bulsara · 6/10 · 7 May 2013]

By not betraying her own personal style and the comic source, evident in its graphic and contrived aesthetic, this film work from Marjane Satrapi doesn't' exploit his full poetic potential, as it chokes the plot in an exercise in style which enchants the eye more than the heart, in a series of surrealistic digressions, flashbacks and flash-forwards (the futures of protagonist's children), by looking for poetic effects instead of true poetry. Nevertheless, the ending, practically silent, explains and forgives the limits and the excesses of a film built on form and on a cinematographic "cinéphile" quoter mannerism, and finally gets to the craved emotion. Ironic, melancholic and visionary mix, with more care for narration and less for stylish frippery it would have been a great hymn to life: as it is now, it did it in half. Paraphrasing the character of the music master: good technique with no heart doesn't make great music.

A Treasure

[RodMorgan · 9/10 · 4 July 2013]

Other reviews cause me to cry out in protest as I found "Chicken with Plums" captivating in a way few films have touched me. I would urge anyone reading these words to seek it out for themselves (I found it on "starz" and hope they will continue to show it).

The storytelling is tantalizingly deliberate; one might even say that the early sequences are almost misleading their matter-of-fact tone. But the artistic team - and a martini-dry performance by Mathieu Amalric as our harried hero - continue unwrapping the narrative in a startlingly casual fashion, the tale becomes richer and more daring with every turn.

Persian tales begin, "There was someone, there was no one." See for yourself whether you find Nasser Ali someone to remember in this artful Persian story.

A Melodic Tale of Love and Loss

[m-abtahi · 7/10 · 28 January 2024]

The 2011 film "Chicken with Plums," directed by Vincent Paronnaud and Marjane Satrapi, is a collaborative creation from Belgium, France, and Germany, adapted from a novel of the same name. I recently watched it.

This beautifully crafted film unfolds in the post-coup era in Iran, specifically after the events of August 28th. The story narrates the love of Nasser Ali Khan for his beloved, "Iran," during his youthful years. However, the narrative takes a turn towards the heartbreak of Nasser Ali Khan for his violin.

In the midst of a quarrel between Nasser Ali Khan and his wife, the cherished violin is shattered. Heartbroken, he takes the broken violin to bed, cradles it in his arms, and awaits death. The film explores themes of love, despair, failure, and death, with subtle references to the social and political atmosphere in Iran. It creates a nostalgic ambiance, reflecting on lost loves and unfulfilled desires.

The film's title, "Chicken with Plums," is derived from Nasser Ali Khan's fondness for this dish, injecting a touch of humor that prevents the film from becoming too heavy, dark, or bitter. Golshifteh Farahani portrays the character of "Iran" in the film.

"Chicken with Plums" participated in the competition section of the sixty-seventh Venice Film Festival.

Chicken with Plums - A Fabulous Fable -

[Chelsea-Guy · 9/10 · 30 August 2012]

This is a brilliant film composed of wit, romance and all the art and style that makes film enjoyable. With set pieces, animation and fabulous actors the directors have created a unique and memorable fable. The visuals are magical and some satirical, all dressed in a vision of charm and enveloped with the romance of music. Romance and Art are at the core of this film, it speaks of the soul of an artist and true love. Set in old Terhran the story is told with culture and warmth. It is an inspiration laced with humor, charm, beauty and at last love. This tale is universal and will touch more than one heart. "Chicken with Plums" is the best I've seen this year and a must see if you love film.

Irâne, Iran and a Love Triangle

[Blue-Grotto · 10/10 · 29 March 2020]

A sensitive and quirky musician, Nasser-Ali, gets both his heart and irreplaceable antique violin broken on the same day. For someone who lives for love and music it is a lethal blow. Nasser-Ali has no strength to even get out of bed. It is then that the visions come of past and future, love and loss, and his favorite dish; chicken with plums. The woman who broke his heart, Irâne, is manipulated by a possessive and conservative father. This love triangle mirrors that of late 1950s Iran with the people who love Iran and the right-wing regime that controls it, so there is much weight in what Nasser-Ali's dreams portend.

This spectacular, whimsical and imaginative film combines live action with animation, and black and white photography with color. Chicken with Plums is ethereal and deep, with touches of humor, just how I love it. Mathieu Amalric (Nasser-Ali) and Golsifteh Farahani (Irâne) reveal why they are rising stars. Their characters are balanced and authentic. From the directors of Persepolis and based on a graphic novel by Satrapi. Seen at the Toronto international film festival.

A nicely wrapped empty box

[ek-hlewagastir · 4/10 · 2 October 2012]

I loved Persepolis both as a graphic novel and as a film. So I was looking forward to Satrapi's new work. I had neither read the graphic novel nor much about the film before watching, which I now regret because this film has little or nothing to do with its predecessor. First of all, it is no animation film and Satrapi's beautiful artwork is limited to the opening titles and to a tale told by the Angel of Death towards the end of the film. The whole cast is French, they speak French and both look and behave like French and, except when it comes to the characters' names, one has to do a big effort to keep in mind that the story is supposed to take place in Teheran. It might be a meaningless detail to some, but for me it was a disturbing discrepancy. The whole film has a superb photography and every scene is carefully manufactured (i.e. manipulated in post-production) into something that indeed looks like a powerful work of art. But inside this nicely wrapped box, I find really little that makes this film worth watching. It's not a film for children: I wouldn't want to tell my children the story of a man who decides to let himself die showing total disrespect for both his wife and children. But as a grown-up, I am really missing something, that something that I did find in the autobiography of a little girl growing up away from a country which has ceased to exist. Chicken with plums is a sort of disturbing bedtime story about a man who lost the joy of living, carefully wrapped up in some sort of misty reverie, nothing more than that. Still, it is probably supposed to be a comedy, and that adds a little sugar to the pill that you'll have to swallow if you decide to watch this. I feel a big disappointment. Just like that plate of smoking-hot chicken with plums which is left untouched on the table by the protagonist.

a hero of every time

[Vincentiu · 25 June 2013]

lovely. melancholic. delicate. impressive. touch of powerful emotions and a common case who can remember the characters of Italo Svevo or Tchekov. a film about a different image of hero. shadows of solitude, gray existence, search of death, old love story. and a brilliant Mathieu Amalric.the cast is only a side of this gorgeous movie. its secret - gentle circles of Iranian reality as song of a violin. a transformation of reality and pure genius of director. splendid images. moving story. and flavor of old spaces of passion. story of a hero. a hero of every time. like sign. of a human isle in middle of society ocean.

The power of a strong story is separate from the medium to which it is transferred.

[hnapel · 8/10 · 30 August 2018]

Who knows the cartoon on which this film is based first realizes that its author, Marjane Satrapi, now also involved in this film project, has ensured that her original story was changed as little as possible. However, the beloved instrument of the musician, an Iranian tar (a kind of precursor of the modern guitar) now had to make room for a violin whose sounds resonate better with the western audience for whom the film was made. Secondly, you realize that the power of a strong story is separate from the medium to which it is transferred, be it the naive black-and-white drawings of the original or a detailed film version like this. When musician Nasser-Ali meets his lost love Irane after many years on the streets and she claims not to recognize him, he ends up in a downward spiral that eventually brings him face to face with death. He does not get out of bed anymore and during the eight days that he has left, he watches over his life with visions of past and future. In the present, attempts are still being made to reach him, but the decision is made for the melancholic musician. Although his wife loves him, he realizes that he is having a bad marriage in which there is a lot of bickering and if she ultimately destroys his violin this stresses the husband to the limit. All this despite the fact that he has two adorable children, now the girl is a bit more cute than her hyperactive brother and is closer in character to her father. It continues to amaze you where they get those talented children for such a film. In his visions he will see how they are doing: his daughter smokes herself to death after a tragedy and his son becomes a businessman in America with a bunch of obese children, his daughter in turn is so fat that she does not notice a pregnancy, and so we are suddenly three generations ahead. Irane, too, has now become a grandmother and of course she had recognized him, but despite her pain, she decided to let the past rest. Although the cartoon version is marketed as a kind of successor to the famous comic strip "Persepolis", which deals with the period of the Shah and the Islamic revolution, the history of that period in the film version is pushed even further into the background, although it is the case that the brother of the musician had been in jail because he was a communist and his son eventually had to flee to America after the revolution because he had been in the army, but I think you only notice that if you already know it from the book. In this sense, this story is much more a personal consideration of the consequences of the choices in your life independent of the great world events, or as the death angel Azrael also says: you only had this life.

The dish is better than the movie

[Karl Self · 4/10 · 21 February 2013]

Before I saw the movie, its title inspired me to cook the dish "chicken which plums", which is surprisingly delicious. I saw the movie last night, and being a fan of Satrapi's comics and her movies, I had high expectations. Unfortunately I found the movie to be well made but so boring that I fell asleep after about one hour. The movie is set in Iran in the 1950ies, which apparently was identical to France of the same period in nostalgic movies, so they might have just placed it there. A famous violin player has an argument with his wife, who then smashes his instrument; without it, he feels that he is unable to continue to live. The movie then documents the last eight days in his life. Eight chapters ensue which inevitably lead to the death of our protagonist. I felt like having to watch eight magazines of a slide show of someone else's highly predictable holiday. Magazine one: the journey. Magazine two: setting up the tent. Magazine three: we go to the beach. Magazine four: diarrhea and sunburns. Magazine five: I have lost my will to live.

Overall the movie felt like the visual style of Amélie Poulain but without the great story or the humour (or the great lead actress). It's set in postwar Iran but doesn't tell me anything about that place or period. The retrospectives to the protagonists younger days only add confusion but don't make the story more interesting. The movie trades in a slight surrealism and nostalgia for the great and engaging storytelling that is usually Marjane Satrapi's hallmark.

What a shallow ,horrible empty man!

[marrzzie · 1/10 · 31 August 2013]

I kept watching this film. Waiting for our hero to be redeemed . Much to my disappointment , that never happened . What a waste of film . A heroine , too weak for true love , and a hero who won't accept the love of his wife and children. I feel tainted having invested time in watching. Boo! I had hoped to find a story of romantic love ,not an excuse for crappy husbands and fathers ! I felt NO sympathy for out "hero". I wished for him ,more ill than befell him. A cowardly heroine , and a nasty , distant "hero"? Thank you, I'll pass. How Roger Ebert gave this a favorable review must have something to do with karmic debt , or some other misguided impulse, but I can't get on board. For anyone expecting a sweet, redemptive "Chocolat " type experience , look elsewhere. You won't find it here .