Dir.: Ang Lee
With: Suraj Sharma,
Irrfan Khan, Rafe Spall
There was so much
potential for this film to be bad. Although the novel was published in 2001 and
went on to win the Booker prize in 2002, no-one dared to adapt it back then –
filming a teenage boy sharing a small boat with an adult Bengal tiger seemed
impossible. Now in 2012 with the use of CGI, motion capture and 3D this movie turns out to be one of the most incredible cinema spectacles of the year.
The story deviates
from the novel very little – it is narrated by the adult Pi Patel (Irrfan Khan)
to the writer (Rafe Spall), starting with Pi’s happy and spiritual childhood
surrounded by zoo animals in Pondicherry, India, and going on to survive a
shipwreck and drifting for 227 days through the Pacific Ocean together with
Richard Parker, the tiger. The film rests on three main pillars – Suraj
Sharma’s performance as the teenage Pi, Richard Parker’s tactile realism and the
stunning views of the ocean. It is incredible to think that this is Suraj’s
first acting job – his performance is saturated with so much feeling and spirit
that it is impossible not to empathise with him to a great extent throughout all his adventures.
The story itself is no ordinary shipwreck survival like "Castaway" for example. "Life of Pi" is more of an Odyssey (even the French title of the novel is "The Odyssey of Pi"), it is a journey of self-discovery, wicked trials and a constant conversation with god. I am sure that the
message of the film, that all religions and convictions have as much validity
as the next, will find its critics as it did when the book came out. I,
for my part, think that there is something terribly romantic about Pi’s final
suggestion to the writer that he is free to choose whatever version of the
story to believe in – the cruel and realistic one or the fantastical – as long
as he likes it.
Fantastical is one of
the key words to describe ‘Life of Pi’ with. The film is interspersed with
moments of sereneness when Pi, despite the destitute conditions he finds himself in, is able to take in the power and glory of the nature around him.
These scenes are usually slow and self-indulgent, with much of the scenery and
marine life created digitally. And even though I knew that none of it was real,
the interplay between colour and moving form was mesmerising. I actually felt
my jaw drop when a blue whale leapt out of the ocean on a starry night (easily
amused I am).
It is very impressive
that this sort of divine and hyper-real beauty and spirituality were created by
the same person who directed “Taking Woodstock”, “Brokeback Mountain”, “Hulk”
and “Sense and Sensibility”. The other Ang Lee film that has a similar
dream-like feel is of course “Crouching Tiger, Hidden Dragon”. Although both
these films take place out in the wild and have many difficult to film
elements, there is a strong sense of directorial control over them, especially
in terms of their visual richness. And yet, Ang Lee doesn’t leave the kind of
stylistic stamp on his works, unlike so many other directors. Instead, I think
that he is the kind of director who lets the material speak for itself, and speak for itself it does.