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MUTSA TUMBARE

AUSTRALIAN CINEMA MED231

CRITICAL REVIEW AND BIBLIOGRAPHY

WHALE RIDER (2002), Dir. Niki Caro

SOUTH PACIFIC PICTURES, APOLLOMEDIA, PANDORA FILM IN ASSOCIATION WITH THE NEW ZEALAND FILM PRODUCTION FUND, NEW ZEALAND FILM COMMISSION AND NZ ON AIR AND SPONSORED BY FILMSTI

WHALE RIDER

Film Information

South Pacific Pictures presents, Whale Rider.

Tagline

One young girl dared to confront the past, change the present and determine the future.

Synopsis

Set in Whangara on the east coast of New Zealand, Whale Rider tells the story of a girl who must challenge tradition. For over one thousand years, a male heir has succeeded the chief’s title but now, the chief’s eldest son Porourangi, fathers twins- boy and girl. The mother and son die in childbirth and the daughter is named Paikea, after the Maori descendant whale rider.
Grief-stricken, Porourangi leaves Pai to be raised by her grandparents, Koro and Flowers. Chief Koro refuses to acknowledge Pai as the rightful successor but after twelve years, he grows to love her. Porourangi then returns home as a successful artist but refuses his traditional destiny as chief to pursue a relationship with his pregnant girlfriend in Germany. He then leaves with Pai for Germany but she is drawn back home, claiming her grandfather needs her.
Believing his tribe’s misfortunes began with Pai’s birth, Koro searches for a leader among the 12year old boys and begins their chief training. Meanwhile a herd of whales respond to Pai’s cry for help but become stranded on the beach, which Koro believes, is the death of his tribe. Pai then makes the ultimate sacrifice by not only rescuing the whales but also literally becoming Paikea, the whale rider.

‘Whale Rider is essentially about leadership and the fact that leadership presents itself in the form of a young girl’ (Caro, 2002).

 

Technical Features
Producer: South Pacific Pictures
Country of Origin: New Zealand
Aspect Ratio: Cinemascope - 1:2.35
Running Time: 101 minutes
Final Mix Sound: Dolby Digital
Filmed in Whangara and Auckland, New Zealand
Rated PG

Credits

Written and Directed by      Niki Caro

Produced by                         Tim Sanders
                                 John Barnett
                                 Frank Hubner
     
Based on the book "THE WHALE RIDER" by Witi Ihimaera

Executive Producers             Bill Gavin
                                             Linda Goldstein Knowlton
Co Producer                         Reinhard Brundig
Associate Producer              Witi Ihimaera
Music                                   Lisa Gerrard
Editor                                   David Coulson
Costume Designer                Kirsty Cameron
Director of Photography     Leon Narbey
Production Designer            Grant Major
Casting                                 Diana Rowan

                           CAST
     
Paikea                                   Keisha Castle-Hughes
Koro                                     Rawiri Patene
Nanny Flowers                    Vicky Haughton
Porourangi                            Cliff Curtis
Uncle Rawiri                        Grant Roa
Hemi                                                Mana Taumaunu
Shilo                                     Rachel House
Willie                                    Taungaroa Emile
Dog                                      Tammy Davis
Maka                                    Mabel Wharekawa-Burt
Miro                                     Rawinia Clarke
Miss Parata                          Tahei Simpson
Hemi's Dad                          Roimata Taimana

 

CREW
Production Manager                        Janet McIver
First Assistant Director       Liz Tan
Second Assistant Director   Neil James

In terms of research, Whale Rider has a great online presence from which I have obtained most of my information.

Official website; http://www.whaleriderthemovie.com/

Director Niki Caro’s previous projects include several award winning short films such as Footage and several television dramas, which have been successful in New Zealand and overseas.
Filmography (links):
North Country (2005), Whale Rider (2002) ... aka Te kaieke tohora (New Zealand: Maori title), "Mercy Peak" (2001) TV Series, Memory & Desire (1997), Sure to Rise (1994)

Keisha Castle Hughes (Pai)- Filmography
Nativity (2006) (pre-production) as Mary, Hey, Hey, It's Esther Blueburger (2006) (pre-production) as Sunni, Star Wars: Episode III - Revenge of the Sith (2005) as Queen of Naboo, Whale Rider (2002) as Paikea aka Te kaieke tohora (New Zealand: Maori title)
Available via IMDb http://www.imdb.com/name/nm1095720/, (2006) where the film currently has a rating of 7.9/10.
Tim Sander Filmography- producer

1. Perfect Creature (2006) (producer)
2. Whale Rider (2002) (producer)
   ... aka Te kaieke tohora (New Zealand: Maori title)
3. The Lord of the Rings: The Fellowship of the Ring (2001) (producer)
   ... aka The Fellowship of the Ring (USA: short title)
   ... aka The Lord of the Rings: The Fellowship of the Ring: The Motion Picture (USA: promotional title)
4. Lawless: Beyond Justice (2001) (TV) (producer)
   ... aka Lawless 2 (New Zealand: English title)
5. The Price of Milk (2000) (executive producer)
6. Lawless: Dead Evidence (2000) (TV) (producer)
   ... aka Dead Evidence (USA: video title)
7. Aberration (1997) (producer)
8. The Frighteners (1996/I) (co-producer)
   ... aka Frighteners (UK)
   ... aka Robert Zemeckis Presents: The Frighteners (USA: complete title)
9. "Fallout" (1995) (mini) TV Series (producer)
10. "Plainclothes" (1995) TV Series (producer)
11. Traps (1994/II) (line producer)
12. Reckless Kelly (1993) (line producer)
13. Amérique en otage, L' (1991) (TV) (supervising producer)
    ... aka Iran: Days of Crisis
14. Which Way Home (1991) (TV) (line producer)
15. Till There Was You (1990) (line producer)
16. Angel in Green (1987) (TV) (associate producer)
17. Melvin, Son of Alvin (1984) (associate producer)
    ... aka Girl-Toy (USA: video box title)
    ... aka Girltoy (USA: video title)
    ... aka The Troubles with Melvin (USA: cable TV title)
18. Razorback (1984) (associate producer)
19. "Return to Eden" (1983) (mini) TV Series (producer)

John Barnett- Filmography (producer)

1. Sione's Wedding (2006) (producer)
2. "Outrageous Fortune" (2005) TV Series (executive producer)
3. Whale Rider (2002) (producer)
   ... aka Te kaieke tohora (New Zealand: Maori title)
4. "School Rules" (2002) TV Series (executive producer)
5. "Being Eve" (2001) TV Series (executive producer)
6. "Mercy Peak" (2001) TV Series (executive producer)
7. Jubilee (2000) (executive producer)
8. No Contest (1994) (executive producer)
9. Jack Be Nimble (1993) (executive producer)
10. Footrot Flats: The Dog's Tale (1987) (producer)
    ... aka Footrot Flats: The Dog's Tail Tale
11. Hot Target (1985) (producer)
12. Out of Time (1984) (TV) (producer)
    ... aka Iris
13. Wild Horses (1983) (producer)
14. Strange Behavior (1981) (producer)
    ... aka Dead Kids (USA: video title)
    ... aka Human Experiments (UK: reissue title)
    ... aka Small Town Massacre
15. Prisoners (1981) (producer)
16. Race for the Yankee Zephyr (1981) (producer)
    ... aka Gold Hunt (Philippines: English title)
    ... aka Treasure of the Yankee Zephyr
17. Beyond Reasonable Doubt (1980) (producer)
18. Nutcase (1980) (producer)
19. Middle Age Spread (1979) (producer)
20. Dagg Day Afternoon (1977) (producer)
21. Wild Man (1977) (executive producer)

International Release dates (Distributed by New Market Films, USA and Buena Vista Australia

Interviews
The Making of 'Whale Rider' (2003) (TV), also available via the official website.
Guardian Unlimited, http://film.guardian.co.uk/interview/interviewpages/0,,1701599,00.html.
Urban Cinefile, http://www.urbancinefile.com.au/home/view.asp?a=7351&s=Interviews. 
IndieWire, http://www.indiewire.com/people/people_030606caro.html.
The English translations for the Maori words used in the movie:

• Te Reo - Maori language
• Kaumatua - Elder
• Rangatira - Chief
• Wharenui - Meeting house
• Tikanga - Customs
• Whakapapa - Genealogy
• Tapu - Sacred
• Waka - Canoe
• Haka - Dance
• Karanga - Call
• Karakia - Prayer
• Taiaha - Fighting stick
• Mau rakau - Stick fighting
• Moko/Mokopuna - Grandchild
• Marae - Meeting place (http://www.IMDb.com)

Critical Review

Whale Rider was received warmly by both its audiences and its critics, locally and internationally hence the outstanding number of award nominations and wins. The consensus however is that Keisha Castle-Hughes delivers an outstanding debut performance. Currently the film is regarded as a great cultural artefact and often referred to as an enlightening children’s film, which crosses all boundaries. It has also proved that indigenous films can be commercially successful. Below are two reviews that also summarise my thoughts:
‘The theme of Whale Rider – that of female empowerment – is not unique, but the context in which it is presented is’ (Berardinelli, 2003, p1). He also credits the movie as a richly rewarding and uplifting film but acknowledges that because of its ‘dry sounding subject matter’, attracting audiences into theatres was difficult but the film has been critically successful.
‘Filmmaker Niki Caro’s involving New Zealander narrative Whale Rider is such an absorbing example of being that rare children’s film that incorporates the essential ingredients of substance and style. Poignant, intelligent, courageous and informative, Caro’s lyrical exposition dares to take on the imagination of children and their adult counterparts and whisk them away in a sombre storytelling mood that’s culturally compelling’ (Ochieng, 2003, p6).

Despite the warm reception, there have been some negative reviews. One critic said, ‘the film is closer to a feminist tract. And, like all propaganda, it wants to do all of your thinking for you’ (Boyar, 2003, p1). Another goes to say, ‘Once destiny is introduced into the story it deflates any sense of suspense’ (Cracknell, 2003, p1). Cracknell does have a point in that from the very beginning, audiences are made somewhat aware that Pai will overcome her obstacles to finally prove to Koro that she is a leader but I believe the matter of how is more important and this is what makes up the story of the film despite knowing the inevitability of Pai’s success.

Genre

In terms of genre, Whale Rider can be classified as a drama or as others have classified it as a children’s film. However, I feel the subject matter is rather mature, dealing with cultural conflict and family relationships, which are conventionally not suited to children’s entertainment. Other themes include rejection, destiny, love, acceptance, failure and ultimately, the new versus the old. I would also classify this as an indigenous film as it does serve to better culturally educate through icons of Maori culture and customs such as the haka (war dance), Hongi (nose greeting) and the traditional chanting. It is also an indigenous film in that the cast are all Maori. Whale Rider also serves to beat indigenous film stereotypes as ones that are politically driven.  
Characteristic to Australasian cinema is the significance of landscape and culture and the realism in character portrayal. Australasian films characteristically represent ordinary people, which Whale Rider does without any sense of artificial glamour, common in Hollywood films. The film has cultural relevance beyond entertainment.

The following link provides an insightful interpretation of the uptake of indigenous film and Whale Rider’s relevance to this genre; http://news.nationalgeographic.com/news/2003/11/1118_031118_allroads.html

The film can also be classified as a woman’s film whose prerequisites are a female lead character, issues important to women and addressing the female audience (Gillard, 2006), which Whale Rider fulfils. It also serves to empower women through themes of equality and capability demonstrated through Pai. It also qualifies for the melodrama super genre, which seeks an emotional response from its audience, which Whale Rider clearly does, especially with the scene of Pai’s school performance where her grandfather does not attend to hear her emotional speech. The opening scene is also melodramatic with the traumatic death of mother and son as is the ending of the film with Pai making the ultimate sacrifice.
The indigenous music is also worth noting in terms of its role in cuing certain emotional responses but in this film it is also a part of the narrative where ancient Maori customs are embodied in song and dance. In the director’s commentary available on DVD, Niki Caro notes her decision not to subtitle some of the Maori chants as she felt through translation they would lose their poetic meaning. She also refers to her dislike for computer-generated imagery and her choice for using artificial whales for the stranding not only due to budget constraints, but rather as maintenance of realism as she preferred her cast to have physical objects to work with. 

The film also has a lot of symbolic meanings, for example when Pai and Koro are working together on an engine and the rope tears, Koro uses it to explain that their ancestors are inter connected and are stronger because they are linked to one another. Funny enough when the rope tears, Koro goes in search of another but Pai ties the rope back together and successfully starts the engine. I find this representative of Pai’s future in that although her being an heir disrupts the tradition (rope tearing), she can still fulfil any duties bestowed upon her (the rope tied back together).

Another symbolic situation is Hemi’s background. Although Koro is leaning towards Hemi as a future chief, it is quite apparent that Hemi has issues with his absent father and ends up vandalising the school, to Koro’s disappointment. This is symbolic of Koro’s assumption that destiny is conventional, showing that leadership isn’t in the most obvious places.

The greatest symbol however is Pai’s rescuing of the whales, in this sense she has rescued her tribe and proves she can lead them into the future. Films similar in terms of genre include Rabbit Proof Fence and Yolngu Boy.

The film’s structure begins in disequilibria, rather than the conventional equilibrium, conflict, resolution sequence. Personally, I found Whale Rider to be an emotionally stirring film with great purpose in terms of cultural education but also very entertaining. It’s rather a modern day fairytale and I would classify it as an indigenous drama. The characters are believable and Pai has such a heart warming nature that you feel as if you are on a journey with her, feeling each disappointment with her. Although a great number of the actors were inexperienced, including the lead actress, it is perhaps this inexperience that gives their performances such a raw and realistic nature that made me feel like people were just being themselves, this includes all the locals used as extras who volunteered to take part in the film as the community. The film explores family relationships and traditions with an ending that leaves you feeling rather satisfied. The film is one to be proud of and a significant contribution to Australasian cinema and its cultural identity.

References

Berardinelli, (2003), ‘Whale Rider Review’, online; http://movie-reviews.colossus.net/movies/w/whale_rider.html, accessed 19/04/06.

Box Office Data, Movie Stars, Idle Speculation, (2006), ‘Whale Rider’, online; http://www.the-numbers.com/movies/2003/WHALE.php, accessed 19/04/06.

Box Office Mojo, (2006), ‘Whale Rider’, online; http://www.boxofficemojo.com/movies/?id=whalerider.htm, accessed 19/04/06.

Boyar, (2003), Rotten Tomatoes Reviews, online; http://www.rottentomatoes.com/m/whale_rider/, accessed, 19/04/06.

Caro, (dir. 2002), Whale Rider, South Pacific Pictures DVD

Cracknell, (2003), Rotten Tomatoes Reviews, online; http://www.rottentomatoes.com/m/whale_rider/, accessed, 19/04/06.

Gillard, (2006), ‘The Woman’s Film’, Ten Types of Australian Film, online; http://online.murdoch.edu.au/MED231s1/index.html, accessed 19/04/06.

IMBd, (2006), ‘Whale Rider’, online; http://www.imdb.com/title/tt0298228/, accessed 19/04/06.

Lovgren, (2003), ‘Whale Rider and the Fight For Indigenous Films’, National Geographic News, online; http://news.nationalgeographic.com/news/2003/11/1118_031118_allroads.html, accessed 22/04/06.

Ochieng, (2003), ‘Whale Rider’, online; http://www.theworldjournal.com/special/movies/2003/whalerider.htm, accessed 19/04/06.