On the heels of Oscar Night's unsurprising coda (made all the more bizarre by the inclusion of Michelle Obama, surrounded by awkward-looking military personnel, presenting the Best Picture to "Argo" from the White House, providing a deeply disturbing governmental imprimatur to the entire proceedings), The Los Angeles Times published a report Monday morning about how "Argo" is being perceived in Iran by Iranians themselves.
"I am secular, atheist and not pro-regime but I think the film 'Argo' has distorted history and insulted Iranians," said Hossain, a cafe owner worried about business because of customers' lack of cash in a sanctions-battered economy. "For me, it wasn't even a good thriller."
"I did not enjoy seeing my fellow countrymen and women insulted," said Farzaneh Haji, an educated homemaker and fan of romantic movies who was 18 at the time of the revolution. "The men then were not all bearded and fanatical. To be anti-American was a fashionable idea among young people across the board. Even non-bearded and U.S.-educated men and women were against American imperialism."
"As an action film or thriller, the film was good, but it was not believable, especially the way the six Americans escaped from the airport," said Farshid Farivar, 49, a Hollywood devotee, as he stretched his legs in an office where he does promotional work. "At any rate, it was an average film and did not deserve an Oscar."
The piece ends with the reporters speaking with Abbas Abdi, one of the revolutionary students who planned the seizure of the American Embassy in 1979 and who spent some time in prison a decade ago for criticisms of the Iranian government:
In a brief telephone interview on Monday, Abdi said the Oscars had plummeted to the feeble level of Iran's own Fajr Film Festival, not exactly one of the luminaries on the international movie awards circuit.
"The Oscars are now vulgar and have standards as low as our own film festival," he said. "The Oscars deserve 'Argo' and 'Argo' deserves the Oscars."
USA Today also has an Oscar follow-up entitled, "Tourists see a different Iran reality than 'Argo' image," which details the warmth, generosity and hospitality of Iranians experienced by travelers when visiting Iran.
One year ago, after his breathtakingly beautiful Iranian drama, "A Separation," won the Academy Award for Best Foreign Film, writer/director Asghar Farhadi delivered the best acceptance speech of that night.
The Americans never resisted the idea of playing a film crew, which is the source of much agitation in the movie. (In fact, the “house guests” chose that cover story themselves, from a group of three options the CIA had prepared.) They were not almost lynched by a mob of crazy Iranians in Tehran’s Grand Bazaar, because they never went there. There was no last-minute cancellation, and then un-cancellation, of the group’s tickets by the Carter administration. (The wife of Canadian ambassador Ken Taylor had personally gone to the airport and purchased tickets ahead of time, for three different outbound flights.) The group underwent no interrogation at the airport about their imaginary movie, nor were they detained at the gate while a member of Iran’s Revolutionary Guard telephoned their phony office back in Burbank. There was no last-second chase on the runway of Mehrabad Airport, with wild-eyed, bearded militants with Kalashnikovs trying to shoot out the tires of a Swissair jet.
One of the actual diplomats, Mark Lijek, noted that the CIA's fake movie "cover story was never tested and in some ways proved irrelevant to the escape." The departure of the six Americans from Tehran was actually mundane and uneventful. "If asked, we were going to say we were leaving Iran to return when it was safer," Lijek recalled, "But no one ever asked!...The truth is the immigration officers barely looked at us and we were processed out in the regular way. We got on the flight to Zurich and then we were taken to the US ambassador's residence in Berne. It was that straightforward."
Such an assessment is confirmed by Ben Affleck's own comments about the film. In describing "Argo" to Bill O'Reilly, Affleck boasted, "You know, it was such a great story. For one thing, it's a thriller. It's actually comedy with the Hollywood satire. It's a complicated CIA movie, it's a political movie. And it's all true." He toldRolling Stone that, when conceiving his directorial approach, he knew he "absolutely had to preserve the central integrity and truth of the story."
We – and I mean we as Americans – don’t believe it. We can read the accusations, even examine the evidence and find it irrefutable. But, in our hearts, we cannot believe that Americans have gone abroad to spread the use of torture.
We can believe that public officials with reputations for brilliance can be arrogant, blind or stupid. Anything but evil. And when the cumulative proof becomes overwhelming that our representatives in the C.I.A. or the Agency for International Development police program did in fact teach torture, we excuse ourselves by vilifying the individual men.
Similarly, at a time when the CIA is waging an illegal, immoral, unregulated and always expanding drone execution program, the previous administration's CIA kidnappers and torturers are protected from prosecution by the current administration, and leaked State Department cables reveal orders for U.S. diplomats to spy on United Nations officials, it is surreal that such homage is being paid to that very same organization by the so-called liberals of the Tinsel Town elite.
The introduction of "Argo" is a dazzingly sloppy few minutes of caricatured history of Iran, full of Orientalist images of violent ancient Persians (harems and all), which gets many basic facts wrong. In fact, it is shocking this intro made it to release as written and recorded.