Leila (1997) Online

Filmmaker Dariush Mehrjui has given us a stylish, thoughtful and moving Iranian film, "Leila" 1998. Anyone can easily appreciate the storyline, and most of all, women can empathize with central heroine Leila, the emotional journey that she is going through. Actress Leila Hatami captured the role of Leila, the young capable wife, to perfect tempo. Actor Ali Mosaffa comparably portrayed her loving supportive husband Reza. Together they put us at ease even when we see them arguing or frustrated by his mother's interfering calls - we somehow felt they would pull through. Or would they? Can Leila withstand her mother in law's insistence? Her silence to her own parents about her 'secret' lend no backbone solace to herself. How will she manage?

Mehrjui also wrote the screenplay and his direction of the film is just as poignant. Its eloquence is at once unflinching and beautiful, devastating and thoughtful. In a culture so traditional, full of 'compulsory' expectations of an heir, a grandson, Leila and Reza is really depicted as quite modern in their marriage and thinking. There is suspense, alright, as we wait and waver with Leila, as we want to side with Reza to let things be. Yet once Leila decided to go ahead, the mood and pace transformed to anticipation and wonderment. We want to respect their reactions. We hope things would work out in Leila (and Reza)'s favor. Will they? How will it all end? The devastation Leila experienced touches us deeply. We worry for her. What shall Reza do? So many questions. So many unknowns. Hang in there. Writer-director-producer Mehrjui does not disappoint. "Leila" is a wonderful 'filmic' journey in spite of having to read subtitles. The acting, cinematography, score, everything about it is quality production. (129 minutes in Farsi with English subtitles.)

Dariush Mehrjui is one of Iran's finest modern filmmakers, his specialty is making films about relationships among the upper-middle-class illuminati and especially love stories about women. This drama is a very powerful, poignant and mesmerizing love story, about the pressures of dealing with Moslem traditions and of a woman's own sense of being.

A very warm couple, the handsome Reza (Ali Mosaffa) and the beautiful Leila (Leila Hatami), perfectly suited for each other in temperament find happiness in their first year of marriage. Why this marriage should turn ice cold, when everything is so blissful is amazing to watch as it unfolds. This is a truly heartbreaking tale without contrivances that examines a woman's psyche, looking carefully at her wants and her expectations. The trouble starts when after a year, there is no child. The couple visits a doctor and are tested to see if either one has infertility problems. They swear their love for each other and in their own quiet way say that it doesn't matter who is to blame, they will stay married no matter what. The problem comes from Leila's overbearing mother-in-law (Jamileh Sheikhi), a monster if there ever was one. She rattles the poor, sensitive girl and completely intimidates her, stressing how important it is to have a son to carry out the family name. The wealthy Reza, who works in his father's company, is the only son, there are four daughters. When the news from the lab comes back that Leila is barren, that her hormonal levels are too low to ever have children, the mother-in-law heartlessly puts the burden on her -- telling her that she is holding her son back from raising a family.

The weak son never confronts his mother as he seems perplexed, even as his wife begins to slowly sink into a shell, confused and ashamed about herself, unwilling to confide in anyone, not even her mother. She receives passive support from Reza but she can't face the treacherous mother-in-law when alone, who has the gift of twisting things around during her visits while pretending to be nice by bearing gifts and then she turns on her nasty tongue; this makes Leila feel inadequate as she just tries to please her by agreeing with whatever she says. The mother is so invasive of the couple's privacy that she calls them always at the wrong moment and the ringing phone is like a knife sticking Leila in her vulnerable spots. It is so painful to just watch the phone and hear it ringing, and watch Leila cringe at the thought of hearing what her mother-in-law has to say.

The selfish mother-in-law after two years of intimidating the girl by telling her Reza wants a child so much he will sneak behind her back and have a child with another woman, and then to have the nerve to suggest that Leila give her permission for Reza to get another wife. Evidently, polygamy is permitted in Iran.

Reza reacts by saying he doesn't want another wife and that he can live happily without children, just as long as she returns to being the old playful Leila who smiles so easily and is close to him. But he never reassures her that he means what he says and she grows more distant from him talking to herself out loud, so that we could hear her express things that she feels she can't tell anyone else. She can't take the pressure anymore, so she pushes Reza to look for a new wife. On each occasion, when Reza goes courting, he requests that she ride with him to meet his perspective bride as he drops her off by the stores to shop while he goes to look over the woman his Aunt Shamsi or his mother-in-law chose for him.

Reza is never forceful enough in his statements telling her that it doesn't matter that she can't have children, as Leila has nagging doubts about whether he really means it or is just saying it. The couple have all the creature comforts of modern life and are seen playfully watching Dr. Zhivago on TV together, but tradition is also very strong. She stays home and does the cooking and the womanly chores while wearing as she must, by Iranian law, a chador to cover her head. There seems to be no problem following these traditions, but this modern couple has its feet stuck in two different worlds and they seem confused as to where they really want to be standing.

I recently saw another film from the Middle-East, "Kadosh," an Israeli film with the same topic and the same intransigent attitude was displayed by those who call themselves ultra-orthodox believers in God, who believe a woman who is barren has been cursed by God.

This is a very compelling and subtle film, it shows the current conflict in Iran between modernity and Islamic tradition. It is also about the universal problem of love as seen through the psyche of a woman who is stripped of her self-esteem and even though she is beautiful and has a considerate husband, she is still not sure of what her role is in society.

this film is indicating a semi modern Iranian couple ,who are trying to fight with old believes &old generation.in this battle they fail cause the man is not strong enough.if you really want to understand this film you must know a lot about Iranian nowadays culture. Leila is the symbol of a young Iranian woman who marry with love but others interferer her life with the name of family traditions and customs.specially her husbands family .at the end of film it shows that every one is damaged by this interference Leila,her husband,mother in law&... the subject is some how strange for westerners,but many of your subjects are strange for easterners too!

I hardly ever give any movie a 10. I just finished watching it, so far I can't think of anything that it can improve. I think that it has done perfectly.

I am also surprised to see the Modern iran city. It is just like anywhere in the modern world. They have freeways, skyscrapers, modern utilities, etc.

Leila is a good sad actress. It is unfortunate that women in Iran are still forced to accept their husband's new wives. The whole movie is a sad tune, it just makes me feel sad after watching the movie.

When people speak of Dariush Mehrjui's films what comes. across most often is his ability to paint. complex relationships and emotions without skipping a beat in the film's rythm or pace. Sounds artsy right? But it's true. Leila is a movie with such compassion and tenderness that you can feel. your stomach knot with every event that Leila endures. The film is paced so well and ends so eloquently that (trust me) you don't want to be disturbed by any other sights or sounds for a long time after. Leila is a young iranian girl, in the a social throes, something that she has no choice about. Wish i could summarise the story, but saying anything will give away too much. Especially since the movie is comprised of a series of interlinked events, and any passage of time can only be measured by Leila's everyday agony.

Ingmar Bergman would be proud of this film that enters the soul of an Iranian woman and effects the heart of those who observe. Set in upper-suburbia Teheran where life for Leila takes a turn when she finds herself unable to have children. This has an affect on her marriage caused by outside interference of the family. Leila wants to keep the peace and goes along with the charade of getting her husband a second wife to have children with, a situation that affects everyone. The camera catches the distinct feature of the actors as an over abundance of dialogue takes over. But the dialogue, (with some bad subtitles that is easily overlooked), carries the story onwards while we the audience enter Leila's tormented mind which is the centre stage of this beautifully crafted piece of cinema. Occasionally you want to kick Leila and tell her to get her act together and rebel against her husband's family. But tradition has a hold of her and she remains silent, sending herself into a slow deteriorating state of existence. A tradition that I can almost relate too.

Most Iranian movies I've seen so far seem to deal with simple emotions among poor people (e.g. boy looking for friend's house in the next village to return notebook). Leila's characters, freed from the struggle for survival, display a full range of human emotions and complexities. Brilliantly acted, scripted, edited.

This is a touching love story starring a sterile Iranian woman, who has to deal with her in-laws' continuous desire for a grandchild. It is by no means Hollywood-friendly: the story unfolds as it would in real life. It is a perfect example of art imitating life.

The cast is very proficient. Leila does an amazing job of conveying her deep yet veiled anxiety, annoyance and anger every time she speaks to her mother in-law. Sheikhi is equally proficient at making us scorn her. I did feel that Ali Mosaffa stole the show: he is flawless in his role of trying to keep the different protagonists happy, yet staying blind to their actual feelings.

This movie may lose a lot of its punch for non-farsi speakers.

Leila Hatami (Leila, the Wife) - 7/10 - Great when acting, not as great at narrating.

Ali Mosaffa (Reza, the Husband) - 10/10 - Compelling flawless performance.

Jamileh Sheikhi (Reza's Mother) - 8/10 - Successfully makes us shriek every time she speaks.

Dariush Mehrjui - 8/10 - Very good script and good rhythm, though I felt that the movie was unusually dark. I am not sure if this was intended, poor cinematography or my failing TV set.

"Leila" is one of the most moving films I have ever seen. It is about an Iranian woman (played by Leila Hatami) who cannot have children. Agitated by her mother-in-law she starts pushing her husband to marry a second wife (which is allowed in Iran). The ensuing drama is captivating as we watch Leila and her husband in their painful journey.

"Leila", though, is not light-weight entertainment. For many Westerners with short attention spans it might even seem dull and boring. The scenes are not filled with gimmicks and cheap tricks. The characters do not overact and the music is minimal. Yet for these reasons, the movie succeeds.

There is nothing artificial about it. Every scene is meaningful, filled with poignant imagery and symbolism. It is for those who like film as an art form, not simple entertainment. Leila Hatami's performance is superb. Her character might seem soft-spoken and docile, but she is strong willed and loving. She bears the pain without uttering a word. The director keeps the viewer close enough yet always detached from Leila, reaching the right balance. This detachment makes Hatami's performance even more powerful. The movie's success largely rests on her shoulders.

"Leila" is a powerful film. It has certain humanity that Hollywood blockbusters will never provide. Only intelligent viewers will appreciate the beauty of this film.

Loving couple with the wife not able to conceive. The story follows the coldly logical steps to reproduction in spite of the feelings of the couple. Making do.

This is not an entertaining film, and in truth, I am surprised by its popularity among typical audiences. It is a serious film, and a work of art, but fun is not to be found here. DO NOT see this film if you dislike feeling emotionally drained and ethically challenged, and DO NOT see it if you are very prone to boredom, or easily offended by sexual violence, substance abuse and the horror of daily life on the street.

The characters and the circumstances in this movie are so well developed that it is hard not to feel just as angry, devastated and numb as Leila. You feel like you become part of a real family that has real dysfunction and is trying to get along despite it all. The few things I did not like include the subtitles, as they were at times difficult to read at the speed they were moving, as well as some of the lighting. There are a few scenes where it would has been nice to see more of the characters' features. Regardless, I feel so much more satisfied after watching this movie that any other run of the mill romantic comedy at the movie theatre. If you are a movie lover and are looking for something different, go watch this movie.

I saw this in my History of the Middle East class and I was blown away with how well made this movie was. Sure, the sound and the visuals aren't ground breaking, but it gets the job done. While this is a darker movie (like many Middle Eastern movies are), there are occasional funny parts stuck in there (epecially with Leila's uncle). Some of the subtitles are funny too, not on purpose, but they flutter around and sometimes spell a simple word wrong, but that's not the point.

I own this DVD, and it's certainly worth renting and watching. It's a chick flick with out all the sappy stuff.

After watching Leila in the cinema I found it a masterpiece. Mehrjui as one of the pioneers in Iranian newborn cinema has chosen a sensational story about a young woman ( Leila Hatami ) who has just begun a peaceful life with Reza ( Ali Mosaffa ). They truly love each other. Problems begin when they find out she can't bear a child. Since Reza is the only son of the family , she has to resist a traditional society and more over a mother-in-law who insist on making a new wife for Reza ( In Iran men can marry unlimited women ) The movie has got good performances, especially by Leila Hatami ( she is also the narrator ), a brilliant sound effect which describes Leila's emotional feelings very professionally and a convincing cinematography. Mehrjui uses his ability to extract useful meanings from the colors, as the movie begins with a close-up on a yellow Sho'lezard ( an Iranian food ). I advice this movie to everyone especially female viewers, though a foreigner can't enjoy it as much as an Iranian does.

"Leila" is so awful it's painful to watch. The DVD I rented had all the zits and dust of the original film. The video was contrasty and grainy as if the film was "pushed" for speed as most indoor scenes were poorly lighted like a really bad noir. The color was off, the English subtitles were poor translations and blurry, the sound was awful and the voices on the "other end" of the phone conversations sounded like they were standing next to the person on screen, etc. The story was simple and didn't have to be any more than 1.3 hours but the film ran for a boring almost two hours owing to dawdling and filler. The plot was a no brainer which is blown way beyond any common sense with characters who are so stupid they do things like have a "fast of speech" which seemed like a euphemism for "not talking because I'm upset" which, of course, would create relationship problems and does which is why it's factored into this stupid film. Etc. Etc. I could go on. Long story short, don't waste you time on this awful film. If you're into Iranian, there are many better flicks out there from Iran. (D)

An untrue script ruins a tale of a young Persian husband & wife dealing with issues surrounding bossy in-laws and having their own children.

LEILA is set in conservative Iran. Woman dress in black outer clothing head-to-toe. A man may marry and keep up to four wives. Reasonable viewers will make allowances for cultural differences when it comes to how bossy in-laws are tolerated. However, the having-children plot in LEILA is played out in a completely implausible manner.

For one, the film's audience must accept that adopting a child or inseminating a young wife are less harmonious actions to a newlywed's continued happy home life than the notion of pushing a husband (who truly does not desire to remarry) to marry an additional wife for breeding purposes with the resulting children being emotionally commandeered by the first wife while the biological mother (second wife) still lives on in the home with no deep attachment to either children or husband.

Second, there is a scene at an orphanage brimming with cute little children without mothers and fathers to care for them. The children are irresistibly cute and seemingly no young married couple with a speck of maternal-paternal instincts could leave without adopting at least two or three. However, Leila and her husband are utterly repulsed and uninterested.

The husband is often as confused as the audience and Leila seems to have anxiety disorder and depression. As the movie progresses, the viewer starts to wonder if perhaps neither of these characters are fit to parent children.

Leila and her husband are financial well off. They drive a new car, have nice new appliances in their home, and there seems to be no want for money. Reference is made to Leila's husband being employed in his family's business, however, not once does the viewer see the husband or any family member at work or mention one single aspect of their thriving business. Again, realism is lacking.

Repeatedly, Leila's husband drops Leila off at the side of a busy street or random highway to aimlessly wander about the roadside until the husband drives back after his afternoon errands and picks her up. These bizarre occurrences are never explained but seem to serve as a plot device to gave a setting for discussing the personalities of potential second wives as each spousal candidate is interviewed.

The audience in the movie house was laughing in the wrong places, shaking their heads and making murmurs of disbelief as the story was being revealed.

Thanks to this film I learned that Iran has falling foliage, homes with completely modern kitchens, and that it is OK to give a conservative Islamic woman a pearl necklace. Watching the movie I also wondered, dressed in black from the top of the head, to toe, a string of white pearls would really stand out. Why have I never noticed such a thing on an Islamic woman ever before? Thoughts wander as the mind resists the story.

Ok, I just managed to stay awake through this film, hoping for some emotional jolt at the end to make up for over two hours of tedium.

Oh, yeah--late 80's to mid 90's films are considered more sophisticated if left without a meaningful resolution, "Cause that's like life."

Strong willed witch of a mother-in-law, spineless son, sweet wife with too little self-esteem. Three people I wouldn't want to know in person, or spend another minute watching.

Was it just my DVD or were all the scenes in Leila's home supposed to have the same red lighting as submarines in emergencies?

Avid feminists might enjoy this. Avid film-lovers...beware.

I watched this movie recently and although the movie itself lacks punch, it does give one a good glimpse of upper middle-class society in Iran. The greatest drawback in the movie, IMO, is the lack of emotion in the main characters. Not once does the husband touch Leila's hand or have any physical contact with her even when they are in private. Although this was probably because of censorship issues, it does make the relationship look very artificial. The highlight of the movie for me was the extraordinarily beautiful face of Leila. It was such a joy watching this stunning Iranian face that I missed the subtitles whenever she spoke! What a pity we can't see her in less modest clothes in a Hollywood movie!

***SPOILERS*** ***SPOILERS*** i found the climax at the end when the husband reza brings over his 2nd wife to leila's house the night of the wedding to be utterly implausible.

although i am not iranian nor did i grow up in iran, i did spend some time in the arab world, and it seems to me that the more likely and plausible outcome to this tale would have been for reza to take his 2nd wife to a 2nd house the night of the wedding than to bring her home to leila's house.

leila should never have had to clean up her master bedroom and move to the guest bedroom. similarly, leila should never have had to run away from the house to her mother's house.

the cruel actions of reza at the end are also entirely implausible given the sensitivity he is portrayed with in the movie, and i felt the director was just trying to instigate a forceful yet unrealistic climax at the end, perhaps to make a statement. a better (yet understated) end to this story would have been to have the 2nd wife come home to a different house the night of the wedding.

finally, kudos to leila hatami for a stellar performance!

An untrue script ruins a tale of a young Persian husband & wife dealing with issues surrounding bossy in-laws and having their own children.

LEILA is set in conservative Iran. Woman dress in black outer clothing head-to-toe. A man may marry more than one wife, although a wife can have only one husband. Reasonable viewers will make allowances for cultural differences when it comes to what extent the bossy in-laws are tolerated. However, the having-children plot in LEILA is played out in a completely implausible manner.

For one, the film's audience must accept that adopting a child or inseminating a young wife are less harmonious actions to a newlywed's continued happy home life than the notion of pushing a husband (who truly does NOT desire to remarry) to marry an additional wife for breeding purposes with the resulting children to be emotionally commandeered by the first wife while the biological mother (second wife) remains living in the home with no deep attachment to either children or husband.

Second, there is a scene at an orphanage brimming with cute little children without mothers and fathers to care for them. The children are irresistibly cute and seemingly no young married couple with a speck of maternal-paternal instincts could leave without adopting at least two or three. However, Leila and her husband are utterly repulsed and uninterested.

The husband is often as confused as the audience and Leila seems to have anxiety disorder and depression. As the movie progresses, the viewer starts to wonder if perhaps neither of these characters are fit to parent children.

Leila and her husband are financial well off. They drive a new car, have nice new appliances in their home, and there seems to be no want for money. Reference is made to Leila's husband being employed in his family's business, however, not once does the viewer see the husband or any family member at work or mention one single aspect of their thriving business. Again, realism is lacking.

Repeatedly, Leila's husband drops Leila off at the side of a busy street or random highway to aimlessly wander about the roadside until the husband drives back after his afternoon errands and picks her up. These bizarre occurrences are never explained, but seem to serve as a plot device to give a setting for discussing the personalities of potential second wives as each spousal candidate is interviewed.

The audience in the movie house was laughing in the wrong places, shaking their heads and making murmurs of disbelief as the story was being revealed.

Thanks to this film I learned that Iran has falling foliage, homes with modern Western-style kitchens, and that it is OK to give a conservative Islamic woman a pearl necklace. Watching the movie I also wondered, dressed in black from the top of the head, to toe, a string of white pearls would really stand out. Why have I never noticed such a thing on an Islamic woman ever before? Thoughts wander about easily when the mind is unable to embrace the story.

The director creates an amazing passion between the hapless lovers even though, under Iranian censorship rules, they cannot touch on screen, and the women must be totally covered (except for face and hands) at all times, even at home. A brilliant, well-told tale.

I watched this film in the cinema 3 years ago and I remmeber it when I watch another film that Leila Hatami play in it (SHEIDA).

I think this film is one of the best work of Mehrjoi, the subject of this film happen commonly between young couple's marriage when the woman can't have a children her husband's mother force him to take second wife, and Mehrjoi show it very well ofcourse we don't forget that Leila Hatami play very well as Leila.

I SUGGEST you get this film and watch it today!

As a New Zealander on a holiday in Iran, I was very lucky to be given a copy of Leila with sub-titles on it. This movie shows the trouble of of a young couple's marriage, when it is found the women can't have children, and the subsequent pressure from the Husbands mother to take a second wife, as you can do in Iran. We see the pain the first wife has to endure. It shows an insight into a cutlure that is very different to our Western culture, and the audience becomes engrossed in the life of the young women, feeling her troubles along with her.

I would say this movie is one not to miss.