If it were a Hollywood movie, "Leila" would probably feature a big-name cast, a hit soundtrack and a happy ending. More likely than not it would be a romantic comedy.
Not to give too much away about this extremely well-acted and thought-provoking 1996 melodrama, but since it came from Iran and not Hollywood, the film takes almost the exact opposite approach to casting, music and story content.That shouldn't really come as too much of a surprise, considering the filmmaker, veteran director Dariush Mehrjui (1990's "Hamoon"), is one who rarely allows his films to become either predictable or pedestrian.
What he does allow here is free range for lead actress Leila Hatami, who is impressive in her star-making debut as the title character, a woman who suffers emotionally in the name of tradition and customs.
Though Leila and her husband, Reza (Ali Mosaffa), are quite happy, it seems that fate is conspiring against them.
First they discover that she is unable to conceive a child -- even after medical treatments. And while that doesn't seem to bother the modern-thinking Reza, it's scandalous to his mother (Jamileh Sheikhi), who is depending on her only son to carry on the family bloodline.
In fact, the woman wants grandchildren so much that she goes to ridiculous lengths to ensure it happens, such as lining up "dates" for Reza (Iranian customs allow men to take a second wife).
Surprisingly, the ever-dutiful Leila agrees to the scheme -- even over the objections of her husband, who says he loves her. However, she's clearly suffering, unable to tell her mother-in-law what she really thinks about her -- and her traditions.
Admittedly, the material sounds downbeat, and the film isn't without its share of self-indulgent moments -- such as Mehrjui showing almost everything Leila does to please her husband and his family. Also, some audiences may feel Mehrjui's pacing is a bit slow.
But that ensures there is more character development here. And in fact, one of the most refreshing things about the movie is its complex characterizations.
As written, Leila is so subservient that she almost becomes irritating, while Reza's mother -- a character that could have been written as strictly villainous -- is shown to have her reasons for acting the way she does, however misguided.
Character studies such as this one also depend heavily on the actors, and fortunately the cast is more than up to the task. The performances are all solid, especially newcomer Hatami, whose expressive eyes beautifully betray her character's emotions.
"Leila" is not rated but would probably receive a PG for scattered use of religious-based profanities.