Directed and written by: Niki Caro (Based on the novel by Witi Ihimaera)
Cast: Keisha Castle-Hughes, Rawiri Paratene, Vicky Haughton, Cliff Curtis, Grant Roa, Mana Taumaunu, Rachel House
Cinematography: Leon Narbey; Music: Lisa Gerrard
I’m not going to be shy about this. Whale Rider is one of the best movies of the year and sports one of the best performances by a young actress, Keisha Castle-Hughes, in years.
You’ve probably read or heard that Johnny Depp’s performances in Pirates of the Caribbean and Once a Time in Mexico are so unique and alluring that he literally carries these movies. Likewise, Keisha’s performance of the young Maori girl who attempts to be the tribal leader she feels is her birthright is just as alluring. Even more so, the strength of her performance lies in a sincerity to her character and the plight that she faces. She literally wins us over.
A distressed economy and the influences and allurements of society (whether they be good or negative) have left the heritage of many Maori tribes in jeopardy; their Maori youth, unfortunately, get lost to it and become the unfortunate casualties. (This theme was also present in the extremely influential New Zealand film, Once Were Warriors.)
Such is the case in the Ngati Konohi tribe in which Pai is a member. In the beginning scenes of the film, we learn that this tribe has been waiting for the birth of the chosen ancestor of Paikea, a leader would have the spirit of the whale (who carried Paikea to their new home from their homeland Hawaiiki), and who would restore hope, unity, and honor to the tribe.
This ancestor was supposed to be Pai’s father, Porourangi (Cliff Curtis), but he never felt that he was the one. He followed his interest in art, which eventually leads him to Germany, without Pai. Then, Pai’s twin brother was heralded as the possible leader, but he died at birth, along with their mother. Porourangi names his surviving daughter, Paikea, much to the disapproval of the tribal chief, Pai’s grandfather, Koro (Rawiri Paratane), or Paka, as Pai calls him. It is after this tragedy that Pai's father, Porourangi leaves home. Nonetheless, Pai, at a very young age, felt that her life was important, that the responsibility of the tribe fell upon her–that one day she would lead the tribe.
The conflict within the story is between Pai, who realizes her potential and mission in life, and her grandfather, Paka, who is the tribal leader. Because Pai is a girl, she is relegated to learning the matriarchal responsibilities, such as guiding newcomers onto the marae (the heart of the Maori tribe–the place where all their meetings, funerals, education, etc. take place). One of my favorite scenes is when Pai guides visitors onto the marae as her grandmother Flowers (played magestically by Vicky Haughton) sings the Welcoming song.
Time and again, Pai will attempt to learn the duties, chants, songs, and language of the tribal leader while her grandfather Koro teaches them to some of the young Maori boys her age, in hopes that one of these boys could fulfill the role. And time and again, Pai will be discovered and reprimanded by him.
But a resilient spirit such as Pai’s never succumbs. She never gives up hope that Paka will come around to his senses, saying to her father that he doesn’t mean what he says. And she finds other means to learn what it takes to be the leader.
Whale Rider is a truly amazing story with heart and hope. Near the end, this film daringly crosses the line of reality to mysticism, as if it wants to be a grand fable, but this crossing seems nothing more than believable. Niki Caro, the writer and director, leads us to this point with a thoughtful script that builds layer upon layer the magical elements of the ancient Paikea legend, thus making possible the recreation of the legend in which Pai fulfills her mission.
Rawiri Paratane plays the grandfather and tribal leader just right, in its ever-present harshness. We see the weight that lays on his shoulders, of finding and training the leader of his tribe. He has a heritage and its customs to uphold, and when that comes into conflict in relation to his grand-daughter, whom he loves, we sense this conflict in his actions. Paratane's role is one of the more complicated in the film. It could have easily been made into a static performance but Paratane lends it depth, especially in his facial expressions and body language. It also compliments Keisha's performance, lending their relationship a uniqueness that is fresh and realistic.
Cliff Curtis, who plays Pai's father, is not new to film. His list of films is impressive--Training Day, Collateral Damage, The Majestic, Blow, The Three Kings, Bringing Out the Dead, The Insider, Once Were Warriors, and The Piano. Though this isn't a large role, Cliff's presence is noticeable and warm. He carries the hurt and pain over his wife's death and his father's stuborness in his heart and it shows in his performance.
Vicky Haughton, who plays Pai's grandmother Flowers, is the center of the film. She stands at the heart, being the mediator between her stubborn husband and their children and grandchild. He wounds; she comforts. He is blind to their potential; she buoys them up. She is matriarch and caretaker; she plays it just right, not with any sugar-coated fakeness.
But it is Keisha Castle-Hughes as Pai who ultimately makes us believe. Hers is truly a performance of the heart.
Whale Rider has won numerous awards already--the 2003 Canal Plus Audience Award at the Rotterdam Film Festival, the World Cinema Audience Award at the 2003 Sundance Film Festival, the People's Choice Award at the Toronto International Film Festival in 2002 and the audience award for Best Narrative Feature, at the San Francisco International Film Festival.
