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Whale Rider 2002 |
Review by Jonathan Cornwell |
Directed by Niki Caro
PG-13, 105 min. (brief language, drug reference) |
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Starring: Keisha Castle-Hughes, Rawiri Paratene, Vicky Haughton, Cliff Curtis, Grant Roa, Mana Taumaunu, Rachel House
Producers: John Barnett, Frank Hübner, Tim Sanders
Screenplay: Niki Caro
Cinematography: Leon Narbey
Distributor: Newmarket Film Group
Released: 6.06.03 (Limited) |
Rating:
 (out of ) |
The wonderful Whale Rider, a film about a 12-year old Maori girl who must overcome tradition to become chieftain of her
people, is maybe the year's most loved film - at least in terms of the moviegoers who have been fortunate enough to see it.
The film has won almost every audience award at each film festival where it has been shown, including the Sundance and
Toronto festivals, respectively. Whale Rider combines a thoughtful, well-conceived screenplay with a truly moving performance
from newcomer Keisha Castle-Hughes, who is a bona fide star and one of the most talented young actors to come along in quite
some time. Director/writer Niki Caro painstakingly details this heartfelt story, based on the novel by Witi Ihimaera, by populating
her film with the indigenous Maori people of east coast New Zealand and a strong cast that portrays their characters with
conviction. The film utilizes the strong performances, beautiful cinematography, and endearing fable to provide one of the
year's most uplifting and rewarding theatrical experiences.
Whale Rider tells the present day story of Pai (Castle-Hughes), the only child of Porourangi (Cliff Curtis), who is the last in a line of
Whangara chieftains. Pai's twin brother and laboring mother died during her birth, leaving her grandfather, Koro (Rawiri Paratene)
with no grandson to inherit the tribe's leadership. When Porourangi, an artist who has no desire to claim his chieftain status,
leaves Pai with Koro and Nanny (Vicky Haughton), Koro must confront the fact that there will be no heir to the long-established
chieftain tradition. When he begins to recruit and instruct the young boys in the village in the hopes of finding one worthy
of beginning a new line of chieftains, Pai desperately attempts to show her grandfather that she is willing and able to fulfill
her destiny. But Koro isn't willing to break tradition, setting up a cathartic answer through the inspiration of whales (the people's
symbolic symbol) as to who the rightful leader will be.
What elevates Whale Rider above the typical coming-of-age tale is a cliché-free script and competently-directed
scenes by Caro that emphasize an underlying authenticity to the proceedings. Although Pai and Koro have a special relationship,
that doesn't prevent Koro from chastising and rebuffing Pai's assertion that she is just as capable of leading as any boy is.
Her wounded spirit is never crushed; instead she earns her respect through a defiant, positive attitude that transcends the
multiple obstacles that confront her. Koro is not willing to sacrifice tradition for Pai's sake, something that rings true in many
of the world's societies today. And, just as in Whale Rider, stereotypes and long-standing tradition are falling away slowly
as younger generations of women prove their equality.
Caro also shapes her film with an eye on the real world community of the Maori, both respecting and incorporating their
tradition and everyday life in almost every frame of the picture. The extravagant locale and georgeous cinematography
by Leon Narbey disarm the audience long before the film's gentle emotional pull grips the viewer by the heartstrings.
The village and surrounding countryside are enveloped by an elegant seashore, providing many opportunities to showcase
the actors' strengths amidst the captivating background. The patience displayed by Caro is rewarded with a power that
captures the viewer's imagination and, eventually, their heart.
But the film is centered by a stunning debut performance by Castle-Hughes, an actor who has suggested that she will never act
again after this emotional experience (an assertion that was put to rest soon afterward when she agreed to a small part in the upcoming
Star Wars: Episode III - due out in 2005). Castle-Hughes is herself part Maori, discovered at a local primary school in New Zealand, and
has a presence and emotional resonance that few of her peers possess. Her dark eyes express more emotional turmoil than
seemingly possible for someone her age, and her mannerisms and simple gestures impart a world-wise intelligence that
imbues her character with a quiet resolve. If anyone need proof of her immense talent, consider the scene in which Pai
slowly recites a poem about her people at a school ceremony for her grandfather, who is heartbreakingly absent. Her devastating
hurt and tears are as palpable and believable as any similar controlled emotional outburst I've ever encountered on screen.
So powerful is this sequence, which intercuts Koro's whereabouts at the time, that Whale Rider will reduce many viewers to
tears before its conclusion. Not to mention her graceful elegance, Castle-Hughes is simply a revelation.
This is one inspired film, brilliantly constructed by Caro and sublimely executed by Castle-Hughes and strong supporting work from
Rawiri Paratene and Cliff Curtis. It will be interesting to see how Whale Rider performs during its limited theatrical run, because,
from what's on display here, it could be the surprise hit of the year (depending on word of mouth). In any case, when this
magical film reaches video it will almost surely become an instant sensation. At a time when teenagers are assaulted by
insulting and hollow films on a weekly basis from Hollywood, Caro has given us a film that will be cherished for its warmth and
earnest sincerity.
© 2003 Jonathan Cornwell
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 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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