Cinematography and storytelling are traditional elements that help make films; you can’t really have a cast turn up without the two, and expect a good movie; and when done right, they can create exceptional quality on the big screen, which is just what we get out of the adaptation of the book Life Of Pi.
Narrating over an autobiographical tale to a writer that will “make anyone believe in God”, an elder Piscine ‘Pi’ Patel (Bollywood’s Irrfan Khan, Amazing Spider-Man) recalls his life story up until he was 16. On a trip from India to Canada with his family and their zoo animals, their boat sinks, and Pi’s (Suraj Sharma in his debut role) journey of survival aboard a lifeboat in the Pacific Ocean begins. However, coming along for the ride, and hopefully survival, is a Bengal Tiger named Richard Parker. Awkwardness ensues.
Sharma as the Pi we see for the majority of the film aboard the boat is decent enough; nothing blowaway but more than reliable for a debut film role. In a body focussed role (when you consider most of the film is shot in a massive water tank and scenes take place during storms) Sharma convinces us of the danger he’s in using his physical movements, and literally being tossed around, which you don’t really expect see from someone without any experience.
There’s noone else noteworthy in the cast (unsurprisingly), apart from Khan (he delivers the emotion needed when relaying his story to a no-name writer), and all of the various Indian actors and actresses were okay enough to slide by anonymously, except for the little boy who played 5 year old Pi who just came across as annoying when he was meant to be “funny.” The most recognisable cast member is Gerard Depardieu of French cinema fame, but he’s kept to pretty much a cameo appearance as the ship’s cook.
Director Ang Lee’s career hit a rocky turn after the literally comic book styled Hulk film, and the poor attitude towards Brokeback Mountain, but in Life Of Pi he rediscovers some of the old creative form which made him so talented when he came over to western cinema in the first place; his imagery and touches really add to a bright plot, and little noteworthy pieces (like Pi’s lifeboat just appearing against a screen of black in a scene change over before the lighting goes up and we see the rest of the sea) are masterful. The brutal, hard work, ocean scenes look perfect when they could have easily failed and the various shots at night lit only by moonlight come across as pretty and watchable.
Whilst not being a fan of 3D and more than a bit annoyed at the obvious adjustments in scale for scenes made for the format, there is a certain temptation to go see it again with the old specs on. The lovely effects would have a new edge added if it was done right, and Lee’s directorial vision and artistic talents would allow a bit of freewill towards a re-watch. It was jarring to see the obvious scenes made just for the excuse to develop it for the format, but from watching in 2D, it was weirdly the kind of stuff that would make you want to watch it in 3D.
The relationship between Pi and the tiger really does drive the film when it gets going; the idea of Pi having to realise this animal he’s grown up with is an animal, who doesn’t have any identifiable emotions, and living in fear of being mauled, constantly keeps interest up after a laggy start; there’s enough of a tease about whether Pi can tame Richard Parker so they can work together to survive, and the slightly tragic ending makes it an emotional rollercoaster for both.
As a journey of self discovery and finding faith, there are a lot of identifiable elements which makes Pi’s early journey sampling different religions relatable. As we see through his development, Pi sampling all the different religions available to him to become a ‘jack of all faiths’ is something many people would have experienced in their lives, so we can all relate to his confusion. This all leads to when there is no hope left during his journey, Pi is willing to give himself over to the mercy of his Deity in a powerful stormy climax to the enforced “voyage” only to ignore it of saving Richard Parker.
The spirit of India is encapsulated quite well in the opening third with the various indigenous animals getting plenty of screen time as well as the Hindu faith. It’s adds to the backstory of Pi and his family and the general feel of the film. What is marvellous about it is that it does not come across as an advert for India at any point; Life Of Pi makes it look as real as it can be for the time period, whilst not making it an idealic place to live; unlike the majority of films based in locales nowadays.
There’s a quiet ‘feel good’ factor around the film which is inevitable (since it’s a story about overcoming the odds of course), however, the brilliant, fantastically dark, ending crushes it wonderfully; you’re left to make up your own decision as an audience member to interpret it but it’s such a tasty twist during Pi’s interview with two insurance men at the end which makes you doubt what you just watched, and if there are some horrible undertones. A little bit jarring yes, given the light, colourful, tone for the previous 90 minutes, but it’s so good it makes up for any misgivings.
On the negative side, a rather sluggish start fails to get any real momentum going until Pi and co. board the ship; there’s a lot of fluff to sit through in the opening 45 minutes, and the opening credits will bore you to the point of tears, despite the fact there are some beautiful creatures on display in an Animal montage. A love interest for Pi is set up for five minutes, right before he leaves for Canada, and is never mentioned again. Tedious moments of Pi’s uncle (when he doesn’t even play an important role in the Life Of Pi) add to the flab, and the early running joke of Pi’s real name Piscine (poor kid – getting named after a swimming pool in French India was never going to help his social standing in school) gets blown off with an awkward scene (if a kid can recite the maths equation Pi that far he surely must be a genius), and overall, it just feels like it’s stalling massively to get into the good stuff i.e. Pi on the lifeboat with Richard Parker.
Creatively and visually, the film adaptation of Life Of Pi is rich, with some impressive lasting memories, the trouble is it takes far too long to get to that starting point. There’s an exceeding amount of unnecessary bunk which kills any flow, but, when it gets going, it’s an unstoppable tour de force of effects and emotion, and whilst not being something that will be remembered forever, it’s still a decent adaptation by Ang Lee.
Terry Lewis – @thatterrylewis.
