WHALE RIDER (2002)

SHORT REVIEW: It s a little like having someone read you a good book…the whole book all at one time. Sure its interesting at first, but then you’re left looking your watch and wondering if you paid your mortgage bill. Something catches your attention, and then…did I turn the stove off? I wonder if should ask for that raise…I like mashed potatoes… There are some points to recommend this film. It tells the story of Pai, a young Maori girl who is destined to become a leader of her people. This despite that this would be unallowable (because of her gender) by her her stern grandfather Koro and her culture in general. The Whangara select the first male born to be their new chief. Pai’s twin brother is this future chief , but he dies in childbirth. The intensely traditional Koro is faced with raising Pai, who in effect is a constant reminder that the Whangara are without a rightful leader. The obvious trajectory of the story is that Pai defies her grandfather and thousands of years of traditions and becomes the “whale rider” or leader. In other words, let’s tear down yet another male centered institution because heaven forbid men have something that belongs to them. Only men can do it, it must be sexist. It’s feminist pap, but to be honest, it’s well written and beautifully shot feminist pap. The conflicted relationship between young Pai (Keisha Castle-Hughes) and old cranky Koro (Rawiri Paratene) makes this a worth while film if the overall theme doesn’t bug you. Their opposite viewpoints combined with the overriding cultural issues that haunt what should be their close familial bond is fascinating. The performances by both actors also make this an enthralling film. Keisha Castle-Hughes offers a great portrayal of a girl out of step with her culture. She later replicated this type of performance as Mary in The Nativity Story. Pai is somewhat lost and confused, knowing what she wants to do but finds Koro denies her in order to preserve the traditions. Paratene offers a rich performance as the troubled Koro who obviously has affection for this granddaughter but has an overriding allegiance to his ancestors, not to mention he has a nasty temper. This is considered to be a great family film. In many respects it is. There are themes of perseverance, hard work and family ties but on the flip side there is the overriding theme of casting away tradition for the sake of self and of course, the unquestioning acceptance of ancestral and animal worship. The tearing down of traditions are inherent to the plot, but it should be noted that it is there. The piece follows the tedious feminist line that women shouldn’t embrace feminine things and enjoy their special place in this world, they should strive to replace men. To put this story in Western terms, it’s like having a young girl becoming a Catholic priest. In a strange way, this film is cut from the same social agenda cloth as G.I. Jane. I never understood why feminists demand women be more like men. Don’t you ladies understand, we’re the drones of society. You’re the one’s giving birth and mothering everything. Women of the world, snap out of it! Stop coveting guy stuff. Guy stuff isn’t that great for the most part. * Another downside to the production is that it is quite slow in many areas. Moments of fascinating interpersonal conflict are sprinkled among lingering scenes that pale in comparison. The realness of the conflict between Pai and Koro fuel much of the film. When the two are not directly opposed to one another, the film has little to offer beyond just being beautifully shot. Overall, this is a hit and miss production. This said, the hits make this worth seeing if you can swallow the heavy social agenda. * - The ability of urinating standing up is pretty cool. Here’s one writing your name in the snow and no lines at the public bathrooms!