Rating: 
Summary: Whale Rider
Review: Plain and simple, I could not possibly rate this movie higher. Sad and troublesome until the end, but then a powerful and wonderful happy ending. If you're female, you'll be furious throughout most of the movie, but love the ending.
Rating: 
Summary: A whale of a tale
Review: WHALE RIDER comes from New Zealand, and opens with a Maori mother giving birth to twins, a son and a daughter. Unfortunately, the mother and son die in the delivery room. The father, Porourangi (Cliff Curtis), is left with only his infant daughter, Pai.A dozen years later, Pai (Keisha Castle-Hughes) lives in a Maori seashore community with her grandparents, Koro (Rawiri Paratene) and Nanny Flowers (Vicky Haughton). Koro is the tribal leader, the direct descendent of the original leader who, according to legend, came with his people from a faraway place on the backs of whales. Koro and hoped that his eldest son, Porourangi, would become chief, but the latter, after the death of his wife and son, left for Europe to become an artist. Koro is devastated by the loss of his male descendents. Though he loves Pai dearly, he consciously and deliberately excludes her from consideration as his successor. She is, after all, but a girl. So, Koro must select another heir apparent from the community after weeding out the teenage, male candidates. Pai is crushed; she loves her grandfather, and feels she must make up for the loss of her brother. Besides, she knows she's up to the job. I liked WHALE RIDER - up to a point. It incorporates so many of those social and personal struggles that make a good touchy-feely tear jerker: generation gap (Koro vs. Porourangi), gender bias (Koro vs. Pai), and coming-of-age (Pai vs. herself). Paratene as Koro is alternately likable and hateful as the amiable grandfather/stern traditionalist who doesn't have a clue. Haughton is a most pleasant surprise as Nanny Flowers, Pai's ally and Koro's chief critic. As Nanny puts it to her husband one night during a period of domestic tension, he may be the boss outside, but in their home she's in charge (and he'd better not forget it!). Castle-Hughes is winning as the plucky Pai. I won't award five stars because I left the screening feeling overtly manipulated. Whales have a significant part in this film, and indeed catalyze the outcome of Pai's struggle for recognition. And everybody is supposed think whales warm and cuddly, right? Also, the film's focus on a society so different from that of American audiences will perhaps arouse in the viewers a self-satisfying sense of politically correct, cultural sensitivity. I've had it up to here with the concept of political correctness. And the circumstances of Pai's triumph transcended plausible reality just a wee bit. Finally, I was left fidgety with the nagging feeling that the Maori teenage boys being tutored by Koro would have been better off learning, say, computer skills, rather than traditional chants or how to fight with big sticks. At the end of the day, successfully recovering the chief's whale's-tooth amulet from the sea bottom is unlikely to get you off the reservation, so to speak. Indeed, the only major character who's coping with the larger world, Porourangi, comes across as diminished by the attempt. I'm doubt that's the right message for any culture.
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Summary: Traditions survive by change:an emotional and beautiful film
Review: An unusual strength of this film is that though it's a film for adults it's also a movie to take children to. They may not understand all of it, but they'll understand enough. And you may discover things about those children, too, from their reaction to this film. But this film will move you, even if you don't have any children (even borrowed ones), to bring along. Don't let me put you off, if "child-friendly movie" sounds to you like something with a Robin-Williams-voiceover from the lowest pits of Hollywood hell. I feel that way about most movies "suitable for children". But this is something else; an emotionally honest, intense, and (I'm sorry; I'm not much good at this) life-enhancing film. This is not a children's movie in any ordinary sense: there is absolutely no pandering, no cuteness, and no cheap manipulation. Nobody hurts another person in a clever and amusing way and milks applause by putting up one fist triumphantly and saying, "YESS!!"; and though the cast is not white, no-one looks at the camera and says, "Well, shee-it!", by way of comic relief; and no-one ... well, you get my drift. In short, this film respects its cast, its story and its audience; it respects childhood and it respects age; and so it earns your respect. Here is a human story, about age and loss, youth and finding a way; and the preservation of an ancient way of life by allowing traditions to change and adapt. In structure it's a fairy tale. Koro, an elder of the Whangara-Mai-Tawhiti people, a Maori tribal group on the beautiful and isolated East Coast of the North Island of New Zealand, is concerned that younger leaders should be appearing. But his own two sons have rejected that path; one to become an amiable dope-smoker with nothing in the way of ambition, the other to leave his home and people to make a career as an artist in Germany. His only mokopuna, or younger descendent, is his granddaughter Pai. Pai shows over and again that she meets all the ancient tests of leadership, but Koro cannot see it, because she doesn't meet one of his criteria: she is a girl. The story is predictable, in its way, as any European tale about a younger son who becomes a clever tailor and marries the princess. It's not Pai's eventual ascension to her rightful place that fascinates and involves, but the process; her own understanding that she has more to give than she knew, and that she has a duty to give it, and the slow realisation of those around her that she is someone special. And the pain, on both sides, caused by her grandfather Koro's failure to see what he needs to see, the truth that stares him in the face. The pain the child and the old (not very old) man cause each other is intense, and sometimes unbearably moving to watch. One scene where Pai makes a speech in honour of her grandfather Koro at a school cultural night, and realises that Koro refuses to come to listen to her, will certainly have you in tears, and the people around you. And yet this emotion comes naturally from the characters, who have earned your sympathy. There is no shallow Spielbergian audience-manipulation here. But Pai also hurts Koro. The chief of Whangara-Mai-Tawhiti should have the power to call the whales, who have an ancient relationship with the Whangara people, whose ancestor Paikea rode to New Zealand on a whale. And Koro is driven in despair to calling on the whales, only to have his despair deepen with the realisation that he cannot make the whales answer. But when Pai calls, and the whales come, she only brings disaster; they beach themselves, and even with the efforts of the whole people to rescue them and return them to the sea, some of them die. The arrival of the whales is a remarkable scene, involving computer imaging every bit as remarkable, but more subtle, as that in _Lord of the Rings_. The acting in this film is extraordinary; veteran actor Rawiri Paratane dominates the screen as Koro, a tough and uncompromising character who is very easy to hate. But at the same time Paratene lets us know that Koro loves his granddaughter Pai, and that some of his toughness is because he believes it is in the interest of his people's future. While 11-year old Keisha Castle-Hughes, as Pai, doesn't just dominate the screen; she lights it up. Many superlatives have been directed at Castle-Hughes' performance, as a first-time actor. She deserves all of them. The rest of the cast are also superb, especially Cliff Curtis as Pai's father, who has abandoned much, though not all, of his Maori heritage, and Vicki Haughton as Pai's grandmother, Koro's wife, who heroically puts up with (mostly) Koro's stubborn blindness. The other performances are also spot on, especially the non-actors. A highlight is the trio of older women, who make a splendidly rude joke about Pai's idealistic insistence that smoking is "bad for their womanly properties". The film is often very funny, sometimes quite earthy. Director Nicki Caro makes an impressive debut. The score by Lisa Gerrard is another highlight. I should also give credit to New Zealand, not only for its wild beauty, but for being a part of the world where indigenous people and newer arrivals have fought but also forged a way of living together, one that may be unique. There are things about the telling of this story, in the cooperation of the film crew and the people of Whangara, that have almost as much emotional resonance as the story on the screen. New Zealanders have taken this film to their hearts because it says something about the people they are, and they're proud of that. They're quite right to be. Cheers! Laon
Rating:
Summary: Seattle Film Festival
Review: This was the best film at the 2003 Seattle Film Festival, and very deserving of the award. You will feel magic, inspiration and beauty all at once. This is one film that will trespass your conscience, your being, and your heart. You don't realize it as you're watching it, but in the end, you will be glad that it did.
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Summary: Brilliant beyond words
Review: In line with "Bend It like Beckham" and "Rabbit-Proof Fence", brilliant works about girls of color in the Anglophone diaspora are being made that are worth every ounce of praise they receive. This film has broad-based appeal because every woman or girl who has ever been told she is not worthy due to her gender will relate to the main character here. Further, tomboys and sensitive guys will relate to the main character's tribulations over "not acting right" again based on rigid societal restrictions. Interestingly, this movie says nothing about the white or "Pakeha" New Zealanders. In the US, there is no film besides "Smoke Signals" where Native Americans just deal with each other. Natives are almost always only portrayed dealing with white colonial contacts. "Whale Rider" recognizes that indigenous people have interesting stories to tell outside of their contact with non-Natives. This film made New Zealand look as beautiful as everyone says it is. After seeing this movie, "Once Were Warriors," "Utu", and even the Maoris in "Star Wars II," I totally wish I could see more films with Maoris or read more books about Maori culture. I welcome any recommendations from amazon readers.
Rating:
Summary: Marvelous film - impossible to compare it to anything else
Review: This is a thoroughly satisfying but very, very unusual movie. Set in Auckland, New Zealand, in the present among members of a Maori tribe struggling to find a new leader, the movie is primarily about acceptance and rejection, and the difficulty of meeting expectations. The central character is an eleven-year-old girl, Pai, marvelously portrayed by newcomer Keisha Castle-Hughes. Life starts off badly for her, with her mother dying in childbirth giving birth to Pai and her twin brother, who is stillborn. Her father more or less deserts her, partly because of the pain of losing his wife and son, but partly because of the strained relations with his father Koro, who was convinced that the infant boy would become the new leader of their tribe. Pai wants to take a place of leadership within her tribe, but is prevented by her rigidly traditional grandfather. Although smart and respectful of her ancestors and the traditional ways and beliefs, she is denied any potential role because of her gender. The film focuses both on her attempt to fulfill the role she feels calling out to her, and her attempt to win the affection and acceptance of her grandfather, whom she loves despite his hostility. This is a beautiful film, and the climax is as satisfying as one could hope. One must allow oneself to become a bit of a believer in things mystical and magical, else the film won't work at crucial moments. The film is populated with complete unknowns, except for Cliff Curtis, who plays Pai's father. He has appeared in a large number of big budget Hollywood films, frequently as heavies, including THREE KINGS, COLLATERAL DAMAGE, and TRAINING DAY. Just about everyone does an excellent job, though Keisha Castle-Hughes and Rawiri Paratene as Koro stand out. Although many of the houses are inexpensive looking and even in some instances mildly dilapidated, nothing can disguise the extreme physical beauty of the locale. With a large bay and sandy beach facing the ocean, and striking, magnificent mountains ascending behind the houses, the location is strikingly beautiful. This is not always an easy film to watch. Some of the scenes in which various individuals are expressing their feelings can be very hard to take, and Rawiri Paratene can express anger that is extremely realistic. Nonetheless, this film as a whole is one that deals with the possibility of healing, of acceptance, and of learning to expand the boundaries of one's conception of the world. I recommend it highly.
Rating:
Summary: Superior to most "hollywood" movies.
Review: This received a good rating in our newspaper but I didn't read the review so I wasn't sure what to expect. It's a rather slow, quiet movie but very compelling. The performances are amazing, especially the actress who plays the little girl. Her behavior was so genuine it was hard to believe it was acting. I enjoyed it immensely and recommend it highly.
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Summary: THE OPPOSITE OF BILLY ELLIOT
Review: Just like ballet is not "meant" for boys, leadership is not meant for girls. Not an altogether seminal theme. But contrary to what the blurbs going around for this latest offering from NZ had me believe, this is not your average run-down feminist movie. You'll be pleasantly surprised, there is a good reason why this has astounded audiences at top international film awards...a wholesome fare in every sense. To begin with, Lisa Gerrard is easily the top contemporary musician around (Insider, Gladiator) and to say that her soundtrack here is gutwrenching is an understatement. Couple that with some mindblowing imagery of whales and it's easy to figure why NZ has been featuring so prominently in international minds of late (Once Were Warriors, Lord of the Rings etc) with their other-worldly yet identifiable themes. Speaking of which, despite the parochial nature of the setting the overall undercurrent of the movie represents a wide universal appeal -- the message of endurance, filial bonds, breaking of tradition molds, reverence, learning. One of the most enthralling aspects of the education theme comes off in a contrast between the movie's two "teachers" -- Pai's Koro (played wonderfully by Rawiri Paratene) and Paikea (played by Keisha Castle-Hughes, in a surprisingly mature performance coming from a child actor, a la Haley Joel in the Sixth Sense). I reluctantly pull off one star for the occasionally overdone and mildly ambiguous spiritual takes, whales not being the most emotive of mammals. But this is required viewing if you care for moving, meaningful cinema.
Rating:
Summary: Whale Rider
Review: Saw this movie and I believe its one of the best movies to come out of New Zealand. The young actor, Keisha Castle-Hughes and the grandmother's performances were outstanding although the rest of the support cast were also brilliant. Can't wait for this to come out on dvd to add to my collection.
The movie lovingly and accurately illustrated the difficulty in absorbing the old and powerful Maori legends and beliefs into modern day life.
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Summary: Everyone has tears for this story
Review: I haven't seen the DVD but saw the film in Christchurch in February. I started crying 3 minutes into the film and the man next to me started 5 minutes into the film. The waterworks continued throughout the film. I have been waiting since February for this film to be shown in the US. If it shows up within 60 miles of my home, I will be there with any of my the friends that trust my movie judgement. I will buy the DVD ASAP (and I only own 4 DVDs). The book is nice, but it is easier to read after seeing the film, due to the the multiple languages.
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