Whale Rider Review
by Richard A. Zwelling (razwee AT yahoo DOT com)July 8th, 2003
WHALE RIDER
**** (out of ****)
a film review by
Richard A. Zwelling
The last four-star review I gave out was for Finding Nemo. It involved, among other things, talking to whales. Now, I emphatically give out only my third four-star review this year to Whale Rider, which involves, among other things...talking to whales.
As we all know, the quality of the average Hollywood cinematic product these days is somewhat less than decent. Maybe I've found a cure! More movies with whale-talking! It just might work! And it's worth a try, considering the new nadirs Hollywood films seem to find each successive year.
Oh yeah, I still have to write a serious review, don't I?
Where to start? Whale Rider is an absolutely magnificent, magical experience. It takes a story that initially seems familiar, and even overtold, and turns it into a cinematic marvel. The story is based on a novel by Maori author Witi Ihimaera and adapted for the screen by writer/director Niki Caro, who does a stellar job on both counts. It tells of an 11-year-old girl named Pai (Keisha Castle-Hughes) who lives in New Zealand among the Whangara people. As we are introduced to their village on the east coast, we do not see many signs of a rich culture with a noble history, but instead see the struggles of an economically disadvantaged people trying to cope with modern civilization.
With the Whangara people comes a legend. It tells of a god-like figure named Paikea (for whom Pai is named). Long ago, he rode on the back of a whale and led his people (the Whangaras' ancestors) to the shores New Zealand. Since then, tradition has dictated that the title of chief shall be bequeathed onto the first-born male descendant.
Of all the current inhabitants of the village, the one most dedicated to this ancient tradition (and possibly the only one) is Koro (Rawiri Paratene) who is himself a direct descendant of Paikea. Through a set of unfortunate circumstances that leave him disheartened and fearful for the future of his people's culture, it comes to pass that his grandchild remains the only one to carry on the tradition of the bloodline.
Trouble is, this grandchild is Pai...a girl. Unwilling to break with tradition, he repeatedly rejects the idea of Pai assuming the chieftain role and begins the training of all the first-born males in the village, hoping that one of them will be strong enough to carry on the tradition. This does not stop Pai, however. She adamantly and fervently continues to learn more about her people's culture and it is easily seen that she is much more suited for the role of chieftain than any of the boys Koro trains.
For the first time this year, I can say that I have seen a film that contains a superlative leading performance, and Whale Rider has not one, but two. While there are a number of other impressive, solid performances, those of Castle-Hughes and Paratene are the ones that matter most, and their characters leap off the screen, immersing the audience in their inner lives. Castle-Hughes is absolutely radiant whenever she is on-screen. In addition to providing a strong vocal presence, she captures the subtleties of a young girl who is inevitably drawn to cultural tradition and yet must struggle with an authority figure in her own family who repeatedly communicates to her that she is unworthy.
Equally complex and nuanced is Paratene's character, because despite his abrasive, distant exterior and his harsh, judgmental actions, Koro is far from a monster or a villain. His view is narrowed by the status quo of traditional gender roles, but in his heart, he is a man who is painfully aware of unpleasant truths. His people lack both direction and camaraderie as they become subject to a rapidly changing world, and his persistent, obsessive search for a chief is representative of his hope for a uniting force that will create a sense of community and tradition long since forgotten.
The predictable element in the story of Whale Rider is Pai's refusal to adhere to tradition and assume a role that she honestly feels she was meant to embody. She, of course, repeatedly goes against her grandfather's wishes and begins to show signs that she might indeed be the one to become chief and unite her people. What is truly wonderful, however, is how the film defies expectations. It produces events that we know to be inevitable, and yet does so in a manner that is unpredictable and awe-inspiring to watch.
In addition, the unfolding of events shows that while this story is about a girl's destiny and her relationship with a struggling culture, it is equally as much about Pai's relationship with Koro and the way in which the two undergo a great deal of internal change as a result of their interaction.
There is also an extremely strong supporting performance given by Vicky Haughton as Pai's grandmother and Koro's wife, a woman who must constantly put up with Koro's intransigent ways and yet loves him (and Pai) devoutly. Her sense of humor and strong-willed nature add yet another rich layer to an engrossing story.
Then, there is the direction and cinematography, which can be at times hauntingly meditative, at others, grandiose and eye-opening. Niki Caro and cinematographer Leon Narbey have created a visually rich, intimately painted work of beauty and splendor that somehow captures the flavors and minutiae of a vast cultural history, despite the inauspicious immediate surroundings.
From start to finish, I was entranced by Whale Rider, and I can very well understand the overwhelming positive reception it has received at film festivals and screenings. This is a beautifully inspiring film that is as equally capable of being both a feel-good movie and a complex tale about destiny, family, love, tradition, and community.
First Lord of the Rings, and now Whale Rider. Forget Hollywood...I'm moving to New Zealand!
Originally posted in the rec.arts.movies.reviews newsgroup. Copyright belongs to original author unless otherwise stated. We take no responsibilities nor do we endorse the contents of this review.
