Whale Rider

2-15-04
Whale Rider offers
conviction vs. tradition

By Mark Stokes

Though independent films have typically been plagued with limited distribution, controversial content and poor cinematic quality, Whale Rider seems to break the mold.
The film has become uncharacteristically commonplace in video stores, even though it didn’t have the financial backing of a major studio during its limited theatrical release. Though it’s rated PG-13 for brief language and a momentary drug reference, Whale Rider is surprisingly clean and family-friendly. It also includes major studio-style filming techniques and acting, without sacrificing the artistic nature one would expect from an independent film.
The overall acting isn’t breathtaking, but 13-year-old Keisha Castle-Hughes’ portrayal of Pai, the youthful protagonist, won her an Oscar nomination for Best Actress (She’s the youngest person ever to be nominated for this category). Some have argued that her acting isn’t dynamic enough for this honor, but her mastery of a single facial expression definitely deserves recognition. This simple expression effectively denotes anguish, fear, determination and contemplation–four emotions difficult for any Hollywood actor to portray without seeming artificial.
Though Whale Rider (based on a novel written by Maori-born Witi Ihimaera) isn’t explicitly Christian, its overall theme seems to apply to our current state. Among the abundant mini-doctrinal debates within the church, the issue of female leadership seems to be somewhat prominent. This issue seems to be one of the driving forces behind the film’s plot.
The story begins with Pai’s birth, and the simultaneous deaths of her mother and infant twin brother. This creates problems for her Maori village, as her father was expected to sire a son who would unify and lead their people. Though Pai feels destined to be that leader, her grandfather, Koro, sees her ambition as blasphemy and, thus, considers it an omen of his people’s inevitable end. Nevertheless, Pai continues to study Maori traditions and beliefs, following a divine call that seems scandalous to the villagers.
Though Pai’s grandfather thinks he’s doing what’s best for the tribe by suppressing Pai’s call to leadership, in reality his stubbornness brings them to near extinction. His loyalty to tradition and legalism takes precedence over loyalty to his deity.
In the same way, many Christian men refuse to follow God’s call on their lives, yet they also refuse to allow women to take up that slack. Perhaps they would rather have God skip over their counterparts and let the rocks cry out instead. It’s this line of thinking Whale Rider seems to warn against.
Pai also reminds me of Jesus in that He, too, filled a messianic role that was expected to be filled by someone stronger–in His case, a more forceful, militaristic leader. Though the idea seemed insane to let a homeless pacifist lead a nation out of bondage, His influence on the world as we know it is immeasurable.
Unlike most successful films, Whale Rider’s style is more subdued and driven by character than by spectacle. Writer/director Niki Caro does an excellent job presenting the Maori culture in a respectable manner. The relaxed, natural pace of the film seems to work well to encourage viewer objectivity, rather than going overboard or proselytizing.
Whale Rider can also be seen as sociological commentary on the family unit. Pai, who is raised primarily by her grandparents, is exhibited good parenting skills by her grandmother, Nanny Flowers. Though frustrated that her son didn’t produce kingly offspring, she instantly accepts Pai and offers her ceaseless love.
Koro, however, embodies some not-so-glamorous parenting methods, including the lack of positive reinforcement and putting unnecessary pressure on children. Rather than presenting him as a cut-and-dry evil man, though, Caro presents him as a real person–capable of genuinely loving Pai at times.
In that same light, father figures in general are presented as catalysts for a child’s emotional state. Koro plays his role; so does Pai’s biological father, Porourangi. Another child longs for the attention of his father, who bounces in and out of jail.
Ultimately, it seems, Whale Rider is saying, “Men, you need to take your family, your religion and your life more seriously or it may all pass you by and go to someone more deserving.”