Whale Rider (Special Edition)
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Movie Reviews of Whale Rider (Special Edition)
Movie Review: Traditions survive by change:an emotional and beautiful film
Summary: 5 Stars
An unusual strength of this film is that though it's a film for adults it's also a movie to take children to. They may not understand all of it, but they'll understand enough. And you may discover things about those children, too, from their reaction to this film. But this film will move you, even if you don't have any children (even borrowed ones), to bring along.Don't let me put you off, if "child-friendly movie" sounds to you like something with a Robin-Williams-voiceover from the lowest pits of Hollywood hell. I feel that way about most movies "suitable for children". But this is something else; an emotionally honest, intense, and (I'm sorry; I'm not much good at this) life-enhancing film.
This is not a children's movie in any ordinary sense: there is absolutely no pandering, no cuteness, and no cheap manipulation. Nobody hurts another person in a clever and amusing way and milks applause by putting up one fist triumphantly and saying, "YESS!!"; and though the cast is not white, no-one looks at the camera and says, "Well, shee-it!", by way of comic relief; and no-one ... well, you get my drift. In short, this film respects its cast, its story and its audience; it respects childhood and it respects age; and so it earns your respect.
Here is a human story, about age and loss, youth and finding a way; and the preservation of an ancient way of life by allowing traditions to change and adapt. In structure it's a fairy tale. Koro, an elder of the Whangara-Mai-Tawhiti people, a Maori tribal group on the beautiful and isolated East Coast of the North Island of New Zealand, is concerned that younger leaders should be appearing. But his own two sons have rejected that path; one to become an amiable dope-smoker with nothing in the way of ambition, the other to leave his home and people to make a career as an artist in Germany.
His only mokopuna, or younger descendent, is his granddaughter Pai. Pai shows over and again that she meets all the ancient tests of leadership, but Koro cannot see it, because she doesn't meet one of his criteria: she is a girl.
The story is predictable, in its way, as any European tale about a younger son who becomes a clever tailor and marries the princess. It's not Pai's eventual ascension to her rightful place that fascinates and involves, but the process; her own understanding that she has more to give than she knew, and that she has a duty to give it, and the slow realisation of those around her that she is someone special. And the pain, on both sides, caused by her grandfather Koro's failure to see what he needs to see, the truth that stares him in the face.
The pain the child and the old (not very old) man cause each other is intense, and sometimes unbearably moving to watch. One scene where Pai makes a speech in honour of her grandfather Koro at a school cultural night, and realises that Koro refuses to come to listen to her, will certainly have you in tears, and the people around you. And yet this emotion comes naturally from the characters, who have earned your sympathy. There is no shallow Spielbergian audience-manipulation here.
But Pai also hurts Koro. The chief of Whangara-Mai-Tawhiti should have the power to call the whales, who have an ancient relationship with the Whangara people, whose ancestor Paikea rode to New Zealand on a whale. And Koro is driven in despair to calling on the whales, only to have his despair deepen with the realisation that he cannot make the whales answer. But when Pai calls, and the whales come, she only brings disaster; they beach themselves, and even with the efforts of the whole people to rescue them and return them to the sea, some of them die. The arrival of the whales is a remarkable scene, involving computer imaging every bit as remarkable, but more subtle, as that in _Lord of the Rings_.
The acting in this film is extraordinary; veteran actor Rawiri Paratane dominates the screen as Koro, a tough and uncompromising character who is very easy to hate. But at the same time Paratene lets us know that Koro loves his granddaughter Pai, and that some of his toughness is because he believes it is in the interest of his people's future. While 11-year old Keisha Castle-Hughes, as Pai, doesn't just dominate the screen; she lights it up. Many superlatives have been directed at Castle-Hughes' performance, as a first-time actor. She deserves all of them. The rest of the cast are also superb, especially Cliff Curtis as Pai's father, who has abandoned much, though not all, of his Maori heritage, and Vicki Haughton as Pai's grandmother, Koro's wife, who heroically puts up with (mostly) Koro's stubborn blindness. The other performances are also spot on, especially the non-actors. A highlight is the trio of older women, who make a splendidly rude joke about Pai's idealistic insistence that smoking is "bad for their womanly properties". The film is often very funny, sometimes quite earthy.
Director Nicki Caro makes an impressive debut. The score by Lisa Gerrard is another highlight. I should also give credit to New Zealand, not only for its wild beauty, but for being a part of the world where indigenous people and newer arrivals have fought but also forged a way of living together, one that may be unique. There are things about the telling of this story, in the cooperation of the film crew and the people of Whangara, that have almost as much emotional resonance as the story on the screen. New Zealanders have taken this film to their hearts because it says something about the people they are, and they're proud of that. They're quite right to be.
Cheers!
Laon
Movie Review: The enchanting and exquisite story of Paikea Apirana
Summary: 5 Stars
One of the rarest things in movies is a kid who comes across as a real kid on screen. The performance of Henry Thomas in "E.T." had even more to do with that film's success that the animatronic alien and "Whale Rider" is graced by a similar performance by young Keisha Castle-Hughes. But there is also a captivating story that challenges the audience rather than simply following convention. No wonder this film kept winning audience awards from Toronto to Sundance.The story is of young Paikea Apirana, a Maori girl of New Zealand. The day she was born both her mother and her twin brother died. Her father, Porourangi (Cliff Curtis) is the eldest son of the chief, Koro (Rawiri Paratene), who has been awaiting the birth of his grandson, convinced the boy will grow up to reunify the Maori and lead them into the future. But Koro has no need for a granddaughter. His son, who is an artist and not a leader, leaves New Zealand, his father, and his daughter behind, but not before one final act of defiance: he names his daughter Paikea, after the legendary ancestor of their people who rode the whale from Hawaiiki to this land. Koro tells his wife (Vicky Haughton) to take the baby away, but she thrusts the baby into his arms, demanding he acknowledge his granddaughter, telling her husband, "She likes you."
The story continues a dozen years alter. Pai's father returns for a brief visit to renew the ancient conflict with his father by bringing news of a pregnant girlfriend in Germany. In a burst of anger Koro tells Porourangi to take Pai with him when he leaves because she is of no use to him. Pai overhears this and while we would expect her to be devastated, she is not: she knows her grandfather's heart better than he does himself and even to be with her father she will not leave Koro and her community. Without ever forcing the matter director Niki Caro, who also did the screenplay from Witi Ihimaera's novel, makes it clear that young Pai is the future of her people and wise beyond her years.
At one point in the film Pai says recalls her family history and adds, "But I was not the leader that my grandfather was expecting." This is certainly true, but the great irony of this 2003 film is that Pai a leader beyond the old man's expectations. She proves this not only in the wonderful climatic scene of "Whale Rider," but during the most poignant and heartrending scene, when she gives a speech at a school concert that makes it clear that before she becomes a teenager she already knows exactly what her people need in terms of leadership for the future. She also knows that she is keeping faith with her ancestors and her ancient namesake.
It is clear from the start that "Whale Rider" is a very good film. It has the tone, the characters, and the story line of one. But where it becomes a great movie is where it sets up the pivotal moment in the film, the point at which Koro will recognize the truth about his granddaughter and acknowledge that she is the leader he has been awaiting. All of the pieces are in place and I would not be surprised if many viewers already have tears running down their cheeks. But instead of the providing the obvious, "Whale Rider" transcends the awaited moment and gives us something larger and more wonderful. We should not have been surprised because the film had an earlier opportunity to bridge the gap between Koro and Pai, as she has been successfully completing on her own all of the tests her grandfather is giving to the young boys of the village in his search for a new leader, but her grandmother, in a moment of understated epiphany declares, "No. He is not ready yet."
The obvious impulse is to call this a magical film, but that misses the mark for me on two scores. "Whale Rider" is not only mystical instead of magical, it has a grounded sense of reality as well. Both Pai and Koro speak of their family and their people as going back countless generations to the ancient ones. How else do you explain a climax that transcends mere metaphor and visual beauty? "Whale Rider" should not be considered a children's movie, because few children of Pai's age would be able to appreciate the depth of this exquisite film.
Movie Review: Great story of cultural biases & the power of determination.
Summary: 5 Stars
Based on a book by Witi Ihimaera, the story is set in a small Maori community on the coast of New Zealand. Leadership of the town is passed down from from eldest son to eldest son, tracing all the way back to Paikea, their ancestor who rode to shore on a whale after capsizing in his canoe. This hereditary line is broken, however, when a girl is born to Porourangi Apirana, the eldest son of the current community leader. The girl's mother and twin brother die in childbirth, leaving Pai (her father names her after their heroic ancestor) the sole heir. Her grandfather, Koro, is disappointed, and though he loves his granddaughter very much, and she him, he shuns her and refuses to train her as the next leader. But Pai knows who she is and takes it upon herself to learn the ways of her people and fulfill her destiny.This is an amazing and touching story, made even better through excellent film-making. 12-year-old Pai is played by Keisha Castle-Hughes in a wonderful debut performance. One would never guess it was her first acting job. She manages to convey a great depth of emotion, and her crowning moment comes in a scene near the end, where she tearfully dedicates a speech to her beloved grandfather (Rawiri Paratene), who failed to show up for her recital of it. The whole film focuses on the conflicts between the great love the characters feel for each other, and the obligations of tradition. It is about a clash of generations and the struggle to reconcile the old world with the new. Pai's father (Cliff Curtis) is also at odds with Koro, so much so that he flees to live in Germany. And Pai's grandmother Nanny Flowers (Vicky Haughton) loves them all and tries her best to help then all make peace with one another.
The movie is fairly short, clocking in at 101 minutes, but the slow pacing of the story makes it seem longer. There isn't really any action, yet somehow the viewer remains captivated by the story. The beautiful, haunting soundtrack also adds a great atmosphere to the film. Every main actor turned in a spectacular performance. If you aren't familiar with the New Zealand accent, however, it may take a little while to understand everything the actors say. The realism of it all is heightened by the fact that the movie was filmed in a real seaside Maori village, and all the "extras" are drawn from the town's own population. This lends a great sense of community, particularly in the emotional scene near the end where the people gather to aid a pod of beached whales (which, despite being replicas, look amazingly authentic). This scene ultimately leads to Pai, in an important symbolic role, riding on the back of one of the whales.
The DVD also offers some nice extras. There is director commentary and the theatrical trailer. A great "Behind the Scenes of Whale Rider" featurette provides many insights into the filmmaking process, including how they selected Caste-Hughes for her role, how the whale replicas were constructed, and more. "Te Waka: Building the Canoe" follows the entire construction of the canoe that features as a major symbol in the film. Fittingly, the canoe was given as a gift to the people of the town in which the movie was filmed. There is also a featurette on the soundtrack, an art and photo gallery, and some deleted scenes. All in all I think this is one of the best films of 2003, and I recommend it highly. Though the main character is a 12-year-old girl, this is not a children's film, and should be enjoyable for viewers of all ages.
Movie Review: ..."why doesn't he want me?"
Summary: 5 Stars
Before I write my glowing review about Whale Rider below, I want to talk about Keisha Castle-Hughes and Niki Caro. As a frequent viewer of all types of movies, there is no doubt that Keisha gave the best performance as an actress in 2003 and was robbed at the 2004 Oscars - simply because she was a child. Keisha is the most naturally gifted young actress to be seen on the silver screen in years. The camera loves Keisha's screen presence, her beauty and expressive eyes. I was blown away when I read in 2003 that she didn't have previous training as an actress. She gave an astonishing performance. Keisha's cameo as the Queen of Naboo in Star Wars: Episode III should be a treat to behold as well. It is the hope of millions of her worldwide fans that Keisha makes the correct decision to continue to pursue an acting career along with her high school studies. She has had offers, but she's seems to be postponing them at this time. Niki Caro is in that elite group of exciting new female directors along with Sophia Coppola, et al. However, what distinguishes Niki from the rest of he contemporaries is her ability to let her actors develop their characters as they overcome obstacles in the story and as they come to grips with their character's emotions leading to the character's growth. Keisha has stated, "She [Niki] didn't just direct me, she gave me options." Check out the Director Commentary section of the SPECIAL FEATURES of the Whale Rider DVD. Niki will be seen next director Charlize Theron [Best Actress Oscar Winner 2004] in "Class Action" for Warner Brothers. Ironic that Niki's next directing assignment would star Charlize who was given the Oscar over Keisha.
As for Whale Rider, not only was was it IMO the best movie of 2003, but it is the best all around movie to hit theatres in many years. This tiny, low budget plays like a BIG MOVIE. Yes, it introduces many of us to the Maori culture and the beautiful New Zealand coastline, but the real themes of this movie are about REJECTION, UNCONDITIONAL LOVE, BELIEVING IN WHAT YOU KNOW TO BE TRUE (DEEP INSIDE YOURSELF), AND EXERCISING THE TRIUMPH OF THE WILL TO OVERCOME TREMENDOUS OBSTACLES TO REACH YOUR GOALS. This isn't just a story about Pai's [Keisha Castle-Hughes] triumph or about girl power. It's a universal story that occurs every day with heroic children and adults around the world. Whale Rider gracefully portrays these attributes of the human spirit in a beautifully scripted, beautifully acted, beautifully directed, beautifully photographed movie. Many terrific reviewers have mentioned the school speech scene as the most memorable. Yes, it is. But, I feel the scene that hits the core of the movie's emotion is when Pai has decided to live with her father Porourangi [Cliff Curtis] and is saying goodbye to her grandfather Koro [Rawiri Paratene] who has love/rejection mixed feelings about her. Pai also says goodbye to grandmother, Nanny Flowers [Vicky Haughton], who has always protected her. Pai's sad, tear-swollen eyes embody a myriad of deep emotions - love, rejection, hurt, disbelief, reluctant resolve [she's agreed to leave], bravery, et al. In acting, the eyes are the "windows to a character's soul" and Keisha, like all great actors (e.g. Mel Gibson), has actor's eyes. I initially screened Whale Rider in the summer of 2003. I've seen it numerous times on DVD, and each time this magnificent film gets better and better.
Movie Review: A moving spiritual experience
Summary: 5 Stars
I've heard good things about 2002's "Whale Rider" for years and put off seeing it, likely because it appeared to be some type of trite Disney flick with a kid (or kids) winning at a competition against all odds, etc. (not that there's anything wrong with that), but that's not what this film's about at all. "Whale Rider" is a serious drama with a very spiritual & moving air and realistic tone.
THE PLOT: A small tribe of Maori in modern-day New Zealand believe their presence there dates back a thousand years or more to a single ancestor, Paikea, who escaped death when his canoe capsized by riding to shore on the back of a whale. From then on chiefs of the Whangara tribe have been Paikea's direct descendants, always the first-born and always male. There is reoccuring evidence that Pai, an 11-year-old girl in a patriarchal culture, is destined to be the new chief. But her grandfather Koro is bound by tradition and stubbornness and insists on choosing a male leader. Pai loves Koro more than anyone in the world, but she must convince him and fight a thousand years of tradition for her calling to come to pass.
"Whale Rider" is an independent film with none of the trappings of modern blockbusters; the story is dialogue-driven, slow and not all that eventful, which can of course throw off those used to a steady diet of the latter. Take note before watching.
I'll be perfectly honest with you, "Whale Rider" was a veritable religious experience for me. I had the dvd lying around for a few weeks and then one day I just knew the time was right: I put it in, not really intending to watch the entire film, and I was captivated from beginning to end (just over an hour and a half without credits). I was in a very spiritually-sensitive mode and literally cried through about 70% of it. The movie actually spoke to me in a sense, if you know what I mean, and I received clear direction in one area of searching/need. Don't dismiss this on the grounds that I'm some sentimental whack job; I'm just a regular dude.
The thematic clash of the film is not granddaughter against grandfather but rather truth v.s. traditionalism, spirit of the law v.s. letter of the law, and true calling v.s. stubborn opposition.
There's also an interesting subtheme about a culture losing its identity and languishing in drugs/alcohol, crime and meaningless despondency. How can they, as individuals and as a people, escape this? They must know their identity -- who they ARE.
Some have criticized the film as too predictable, but I'd rather watch "Whale Rider" and it's predictable play-it-straight plot than moronic 'twist' films like "A Perfect Getaway" (2009) where the story is essentially a lie, leaving the viewer feeling ripped-off and hoodwinked. "Whale Rider" is refreshingly honest by comparison. Besides, 'twist' plots have become so common that playing it straight is now 'cutting edge.'
Keisha Castle-Hughes, who plays Pai, is precious.
The film was shot on location at gorgeous coastal New Zealand.
FINAL WORD: If what I've said above piques your interest don't miss out on "Whale Rider." But wait for the right moment when you know you'll be receptive to such a reverent piece. It will move you and maybe even speak to you.