Product Description: Reza and Leila, an attractive and affluent young couple deeply in love and recently married, discover that Leila is unable to conceive. Although Reza steadfastly insists that it matters not in the least, his mother feels otherwise: she is determined that her son have children and continue the family line. Invoking tradition, she convinces her daughter-in-law that Reza must, out of necessity, take a second wife to produce an heir. The heartbreak that follows is so eloquently recorded that the final outcome is "in a word, devastating." (The New York Times)
This provocative, eloquent and ultimately devastating story, from "Iran's longest-running cinematic master" (Village Voice), is a stunning portrayal of the clash between tradition and modern marriage; between manipulation and the power of love.
Amazon.com: American audiences used to the fable-like Iranian films of Abbas Kairostami (A Taste of Cherry) and Jafar Panahi (The White Balloon) may be startled by Dariush Mehrjui's devastating modern melodrama, Leila. Set firmly in the urban world of contemporary Tehran, this story of a couple pressured by family and tradition into destroying their happy union is a window into a world uneasily straddling the past and present. Happily married but childless, Leila and Reza are pressured by Reza's mother to keep the family name alive. When Reza refuses to take a second wife (polygamy is still legal in Iran) the mother-in-law goes to work on Leila, beating down her resistance with a mix of pleading, haranguing, and outright lies, until the couple limply gives in.
Mehrjui's subdued, subtle approach rolls with the gentle rhythms of a slow-paced society like many of his contemporaries, but underneath the surface calm is a churning sea of emotions: betrayal, abandonment, guilt, and grief. While the story can stand as a metaphor for the power of tradition in a modern world, Mehrjui's heart is with Leila's desperation and sorrow while she flails for support, even while helping choose her husband's bride. Dariush Mehrjui has been described as the godfather of Iranian cinema, and has repeatedly clashed with Iranian censors while pushing the envelope of social issues. This understated but vivid tragedy is witness to his place in cinematic history. --Sean Axmaker
Puzzled by others' responses I must admit that I'm a bit surprised by many of the others' reviews--it seems as though many others turned the film off before the very final scene, the last words and glimpse of Leila. That one moment in the film turns the entire film around--and left me with a much richer view of the film than the more obvious interpretation. The devastation of that film is not what "happens" to Leila, which has been seen by some has her "choice," but what happens to the little girl. For in that last scene, we finally learn of Leila's determination all along, and her manipulation of her very limited conditions, given the family pressures! So a woman who began the movie as innocent, perhaps naive, but certainly cowed by pressures learns throughout to manipulate the mother-in-law, the husband, and the second wife, allowing her to come out as victim and hero of her life by "fashioning" a child she can raise. The loss, to me, is to the little girl whose last glance assures us that she, too, will learn how to manipulate in an underhanded way, just like her mother.
"God Be Willing" ~ Love Versus Legacy, An Iranian Romance Note: Product Details for this DVD is incorrect, this film is not presented in English. It's Farsi with English subtitles.
The '98 film 'Leila' is an artistic, heart wrenching tale examining the power of tradition and family and its long term effects on two loving, caring people. Reza (Ali Mosaffa) and his new wife Leila (Leila Hatami) appear to have the perfect marriage until the fateful day she discovers she is unable to bear children. While her husband is supportive and unconcerned with the prospects of a childless marriage his family, more specifically his Mother, attempt to take matters in their own hands and convince Reza to take a second wife and secure the family legacy with the birth of a son. Can Reza and Leila survive the expectations of tradition and extended family or will their marriage falter under the onslaught ahead?
Director Dariush Mehrjui has delivered a bittersweet, poignant film about love and loss. The two main characters, Reza and Leila work extremely well together as a married couple, they should since they are man and wife off screen as well. Jamileh Sheikhi is also wonderful as the zealous, overbearing and opinionated Mother-in-Law, serving as the perfect counterpoint to her shy, demure daughter-in-law.
Of course true to the name of the film Leila Hatami is the undisputed star of this production. That face, those eyes and her ability to exude so much interior emotion with nothing more than a fleeting expression or subtle shift in body language is amazing. Truly one of the pure beauties of cinema, foreign or domestic.
Loved it, but left me feeling frustrated I just finished watching this movie and although I enjoyed it, I couldn't help feeling anger towards the two main characters. Reza and Leila obviously love each other but neither can stand up to Reza's overbearing mother. The mother is not vicious or tyrannical. She apeals to Leila's sense of duty (along with tears and a string of pearls). Reza has no backbone whatsoever. He even admits to being forced to marry Leila. He is the only son in a house of sisters and the pressure to marry was great. Fortunately for Leila, he falls in love with her. But one can see how easy it is for Reza's mother to manipulate him into a second marriage. Instead of saying 'no', he leaves the decision up to Leila. Whatever she wants, he will do. What Leila wants most is a child but that is not to be. What she wants most is for Reza have a son and for her mother in law to leave her alone. When Reza finally gives in, she has a breakdown. This was a very interesting look into Iranian culture. For those who have preconceived notions about how these marriages are, it was a nice window to see that love can happen even when these marriages are arranged.
affecting "Leila" is an Iranian film that came out in 1996. It's a vital film to watch if you're interested in the status of women in the Middle East.
The action takes place entirely in Tehran. The plot concerns the agonies of the titular character, a young woman who discovers shortly after marriage that she is infertile. As the movie grinds on, we witness her eventually caving in to the relentless pressure originating from her officious mother-in-law, whose only desire in the world is to have a grandson.
Therefore Leila accedes: she agrees to stand meekly by as her husband takes a second, hopefully more fertile bride (up to four brides are permitted in Islam). Hijinks ensue.
Judging by this film, the director is quite a talent. The script, while not astonishing, is bold and carefully constructed. The acting is passable but not sensational.
The quality of the print itself is atrocious: a galaxy of white flecks dance happily around the screen throughout the entire feature, and the film can boast running scratches in more than a few places.
As for the subtitles, they are in English and that's that. They cannot be disabled or changed to Farsi. The letters are white without black edges, but visibility is rarely a problem. Spelling and grammatical errors are legion.
My beef is with the cinematographer: that's some pretty cruddy work you've turned in, whoever you are. Faces are frequently a flushed red, as are many interiors, to the point where you start to believe that the fashion in Tehran these days is to light your living room so that it resembles a photographic dark room. Sheesh! Ever heard of lighting temperature?
Alas! The film cuts Iranian culture to the bone in a way that makes Iranians themselves visibly uncomfortable when they watch it. The situation Leila finds herself in is reasonably common in Iran, as it is, I suspect, in nearly all socially primitive socieites.
The purpose of women, you see, is to pop out male heirs. Not simply help raise and nature male sons, no, no; they have to be from our bloodlines, dang it! Not adopted, or our lives will be ruined! And if you can't deliver the goods, I'll find a woman who can!
Sigh. But if the renown of films like this is any indication ("Leila" is highly regarded in Iran), this society can only be headed for improvements.
And you're gonna hate that phone!
Marriage of love; being able to give a birth to a male child;mother-in-law factor;culture If you want to watch a film with a true love between a husband and wife, I'd highly recommend this film. A husband is allowing his wife to make her own decisions and create a mutual discussion platform. This must be a very important feature of genuine love between a couple in an UNEXPECTED geography. However, there is often a third person who is not happy with the two's happiness. This third person is sometimes the whole society, sometimes a single person. Let's call it "the third eye." In this culture, people believe in nazar (the envy and maybe grudge of other people). And the director clearly portrays the evil eye hanging next to the entrance door to the house of the couple (Leila and Reza). Yes, there are several ways to keep that third eye away from destructing the happiness of the two. "Dua" (praying to God) keeps the relationship safe and healthy from harm. Dua is the core of life. Dua is the core of strong belief in God. That's what we see in the film many actors are praying for the sake of Reza (the husband) and Leila (the wife). *Evil Eye is just one of those traditions to keep the envy of the society or those people jealous of the couple's happiness.
Reza is a very nice gentleman offering his wife presents and treats in several occasions. He takes her out and he LISTENS to her. This is a portrayal of the true possibility of MUTUAL LOVE existing in a place with lots of biased views about it. The plot takes place in Iran and many people have very biased views about the country. You can immediately recognize the veil Leila (the main actor) wearing on the cover of the DVD. What does it imply? Oh, this is just another middle Eastern movie? I guess not. So, please leave your BIASED VIEWS and give this film a try.
There is a culture embedded in this film. The culture of Islam is truly reflected in many occasions without favoring the extremist side or "modernized" side. There is very well balance constructed in this film. I heard from another reviewer that the director had his college education in the US. However, the director did not bring a stranger's eye to an everyday possible event of a marriage without a child. This film might also be directed from a stranger's eye through many ways. The veil might be recognized as a false practice, or say the women's rights might be discussed, or the husband might be rejecting his customs and hold his wife's hand publicly, and even kiss her in the street. No, there is no stranger's eye in this film. It is fresh from the roots of the culture, and I congratulate the director to clearly articulating the customs of his country and still portraying a very usual problem in marriage (which is the must of having a son to continue the generation of the man).
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