Customer Reviews

Whale Rider [VHS]

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Niki Caro's "Whale Rider" (based on the novel by Witi Ihimaera) is an uplifting tale of tradition and inner strength. Twelve-year-old Pai (talented newcomer Keisha Castle-Hughes) lives with her grandparents in a rural New Zealand town. Pai's mother and twin brother died in childbirth, and her artist father took off for Europe, where he now has a new (pregnant) girlfriend. Pai's brother was supposed to be the next chief of her tribe, and with his death Pai's grandfather Koro searches for a new (male) leader, failing to see that it is Pai that possesses the courage and talents of a chieftain.

The movie is filled with a haunting soundtrack by Dead Can Dance's Lisa Gerrard, including samples of traditional Maori music by Hirini Melbourne. The cinematography beautifully captures the many moods of light and shadow on mountains and sea, as well as stock footage of majestic whales. "Whale Rider" is an uplifting tale of love, loss, and courage, about tradition in the face of change, and believing in yourself.

Maori mythology comes to life in the form of Pai, granddaughter of the tribal chief. Tradition demands the next chief be a grandson, but Pai's twin brother and Mother died during childbirth. Left to live with her Grandparents Pai tries to prove her worthiness to her Grandfather but he insists his successor must be a male.

The Maori claim to be descendants of the legendary Paikea who came to New Zealand riding on the back of a whale. This coastal, fishing community has maintained their close spiritual tie with whales for over a thousand years, their mutual destinies forever linked.

When Koro (Pai's grandfather) decides to gather together all the young males of the tribe and teach them the "old ways" in the hopes of finding the next chief Pai tries to join the group but, is rudely dismissed by Koro. In desperation she cries out to the whales, asking for their assistance in her quest for acceptance.

Now it is up to the whales to decide who's to be the "chosen one." A massive herd answers her plea by grounding themselves on the beach. The whole community unite in an attempt to save these sacred giants, seeing their impending deaths as an apocalyptic omen for the Maori people. All their efforts fail and hope is lost until Pai realizes the moment of truth has finally arrived.

What a beautiful, poetic movie. Keisha Castle-Hughes is brilliant as Pai as is the whole cast. It might be a little slow for younger children, but overall a wonderful experience for a family to watch together. Buy this DVD, you'll come away with something new with each viewing.

This year has been marvelous in the theatrical release of movies that aim to enrich and encourage young girls to bypass cultural boundaries that hold them back from the biological aspect that they were born female. In a similar fashion to BENDING IT LIKE BECKHAM, WHALE RIDER is a story of a young Maori girl living in New Zealand who desires to become the new tribal leader. But because Pai was born a girl her grandfather prohibits her from learning the cultural traditions. Pai is then forced to sit on the sidelines while other first-born boys are taught the ancient ways of their ancestors. Her stern and strict grandfather often reprimands her and she is determined to prove herself worthy of the post of the new chef.

Although there are obvious similarities between these two films, WHALE RIDER contains a more richly textured and nuanced plot. The most compelling part of the story is the anthropological plotline whereby a culture must face its own mortality in a modern world. When old customs and traditions have lost their meaning for every day life, why keep them going? The surprises in the script are not in how it will turn out, but in the matter-of-fact honestly of the characters. Interesting view of a different culture, and well acted. WHALE RIDER is a great viewing experience.

In a New Zealand coastal community, the long-awaited arrival of a Maori tribe's next leader is frustrated when the male grandchild of the Maori Chief dies in childbirth, along with his mother, leaving a surviving twin sister. The infant's father, Porourangi (Cliff Curtis) names the girl Paikea after the first Maori of legend who came to New Zealand on the back of a whale, the name intended for her deceased brother. Unable to face his father's expectations and tribal life after the death of his wife and son, Porourangi leaves New Zealand to pursue a career abroad and leaves his young daughter in the care of her grandparents, Koro (Rawiri Paratene), the tribe's Chief, and Nanny Flowers (Vicky Haughton). The precocious and fearless child, whom everyone calls Pai, wins the heart of her grandparents. But her grandfather still openly laments that Pai is not a boy who could inherit the responsibilities of chief, and he is anxious about his people's fate without a leader to guide them. When Pai (Keisha Castle-Hughes) is 12 years old, she begins to think that she might be that leader, in spite of her gender. And her refusal to yield to the traditions which prohibit her from assuming a leadership role threaten to irreparably damage her relationship with her grandfather.

"Whale Rider" is inspired by the children's novel of the same name by Maori novelist Witi Ihimaera. It was adapted for the screen and expertly directed by New Zealander Niki Caro. This is a very lyrical film that is perfectly paced, so the audience never has a chance to get bored. The characters are all down-to-earth people who are nevertheless not simplistic, and each is sympathetic in his or her own way. The beautiful imagery of the New Zealand coast and the Maori traditions are a pleasure to watch. But the film deals with the universal themes of the traditional coming into conflict with the new and the younger generation with the old. The entire cast is excellent. And newcomer Keisha Castle-Hughes is nothing short of astounding. Her portrayal of Pai is luminous and completely convincing. She pulls the audience into this story the minute she appears on screen. "Whale Rider" is an enchanting film which both children and adults will enjoy.

The DVD: Bonus features include: theatrical trailers, tv spots, deleted scenes, a "behind the scenes" documentary, a documentary of the construction of a Maori war canoe for the film, 5 tracks from the film's score, and a photo gallery. I recommend both documentaries. One is a "making of" sort of thing, with interviews with the film's director and cast. The other is called "Te Waka: Building the Canoe" and explains how artists used both traditional and modern methods to construct a ceremonial Maori war canoe for the film in less than a month. The 5 complete tracks from the film's score are also a very nice bonus and may help you decide if you want to purchase the film's original score by composer Lisa Gerrard.

I've not been moved to write a review here before but this movie is quite something. I've seen it twice and may go again. Wonderful, genuinely interesting story, great performances, especially by Keisha Castle-Hughes, and smart visual storytelling. Another person on this board mentioned "waterworks"-- boy, no kidding! Impossible to contain. Niki Coro has a gift for dealing with intense emotion in an honest way. This is a great movie.

"Whale Rider" is one of the best movies this year, and probably will be remembered as such at the end of 2003. It's full of haunting imagery, thought-provoking handling of universal themes, and family conflict. And there's a bit of the awe-inspiring and magical near the end as well.

When Paikea (Keisha Castle-Hughes) was born, her mother and twin brother died. Her heartbroken father fled to Europe, leaving her in the care of her rigidly traditional grandfather Koro (Rawiri Paratene). Years later, Pai longs for her grandfather's approval, but he secretly blames her for the troubles plaguing the Maori -- especially since there is now no heir, as girls can't lead. Koro, we're told, wants a savior for the Maori tribe of Whangara-Mai-Tawhiti. Now Koro begins training young boys in how to be chiefs, and Pai secretly learns as well (against Koro's orders).

When the final test of the boys fails completely, the heartbroken Koro calls out to the Ancient Ones (whales), one of which, according to legend, brought the first person to New Zealand. But they don't come for the old chief. Pai calls them as well -- only to bring disaster when the whales beach themselves near her home. To save the Ancient Ones, an old teacher must learn to break traditions, and a young one learns her true place.

Though the lead of this movie is a child, there is no cuteness, no dumbness, no talking-down. The moviemakers clearly respect the cast, the people it represents, and the wealth of legend and myth behind them. It feels so real that you could reach through and touch them. But the content in it is universal -- sometimes traditions should bow to what is needed, and they need to change for the people who honor them to survive.

Neither Pai nor Koro will leave you untouched; Pai hurts Koro by breaking the rules, while he hurts her by treating her as unworthy. The scene where she makes a speech praising him and their culture is heartbreaking, as she struggles to speak through her tears. Similarly, the moment when Koro realizes that he was wrong about Pai is amazing. This careful attention to the characterization shows the care that went into "Whale Rider."

Direction is outstanding -- simple lines have great weight, dialogue is entirely believable, and the scenes are often carried just by the look on the actors' faces. There's a feeling of purity to the way it's directed, a freshness and beauty that shows in full near the finale. New Zealand is shown off at its best in wide scenic shots. And the climactic scene with the whales is nothing short of brilliant -- it will take your breath away.

Keisha Castle-Hughes is absolutely priceless; she has genuine talent, rather than the hamminess or woodenness that many young actors have. Rawiri Paratene is excellent as a man with a heavy burden who is getting more and more desperate; you won't like all he does, but he's an incredibly sympathetic character just the same. The supporting cast is also amazing, including Vicki Haughton as Pai's strong-willed grandmother and Cliff Curtis as her dad.

With remarkable performances, a simple, powerful message, and a brilliant storyline, "Whale Rider" is a film that should be seen again and again.

"Whale Rider" was released on June 6th 2003, it is rated PG-13, and is 1 hour 45 minutes long. Whale Rider is directed by Niki Caro and is based on the book written by Witi Ihimaera. The main actor in this film is newcomer Keisha Castle-Hughes who was selected from many hopefuls to play the role of Pai. Keisha performs her role extremely well and makes the film complete. Her performance is well balanced by that of Rawiri Paratene who plays Pai's grandfather Koro. Other actors in the film are Vicky Haughton who plays Flowers, Pai's grandmother, and Cliff Curtis who plays Porourangi, Pai's father.

Whale Rider is set in the coastal village of Whangara, New Zealand. It is the story of a young Maori girl, named Pai, and her fight to defy the hard set traditions of her people. The film is told through the eyes of Pai and begins tragically when her mother dies while giving birth to her twin brother. Porourangi is disgraced, as his son was supposed to carry on the line of chiefs, and so leaves the village indefinitely. Pai is left in the care of her grandparents, her grandfather, Koro, being the current chief of the tribe. Once Pai turns twelve Koro rounds up all the boys in the tribe and begins to teach them the ancient ways in hope of finding a new successor. Pai is not allowed to train as she is female so she seeks out the help of her uncle to teach her the customs. Her struggle begins, her aim being to break tradition and take her rightful place in the tribe.

The gorgeous scenery of New Zealand makes a perfect backdrop for this film and the carved meeting houses help to intensify the Maori culture; the visual quality is excellent. The acting in the film contributed to making the characters exceptional, they are very believable and the audience is able to relate to how they are feeling. Much of the music used in Whale Rider is traditional of the Maori people and incorporates song and dance; it has specific cultural significance and is characteristic of New Zealand. Overall I found this film to be outstanding and exceedingly moving; one that should not be missed.

When you go to the video store looking for films with positive role models for kids (and adults!), with an inspirational message that you can accomplish something if you put your mind to it, you typically will find almost nothing. Worse, even movies with a fraction of a positive message will be so silly or idiotic that watching them as an adult is torture. With "Whale Rider" you get a movie that adults and teens (and many pre-teens) can both watch and enjoy.

As Roger Ebert pointed out in his review of "Whale Rider," something is horribly wrong with a ratings system that gives a movie like this a PG-13 rating. Just watch this next to a movie like "Dodgeball" with its objectification of women, toilet humor and sexual innuendo. Both movies have the same rating! Don't be fooled. The average 12 year old _should_ be watching "Whale Rider" while "Dodgeball" shouldn't be viewed even by 14 year olds. All of this has me wondering about about the sanity and intelligence of the ratings board.

As many have pointed out, Keisha Castle-Hughes puts in a superb performance. Ditto for the rest of the cast.

Perhaps even better than the performances are the positive roles played by most characters. The kids are intelligent, confident and curious. The adults are generally supportive and wise. While the males in the movie have obvious faults, this movie is about them as it is about "girl power." There's a scene where Keisha's character is riding a bike with her grandfather and a loving glance passes between them. How rare it is to see such imagery - a father figure bonding with a child - in movies or TV! "Whale Rider" isn't just about celebrating a girl's empowerment. It's also about showing the love between male parental figures and their own personal growth as their children mature.

One caveat: "Whale Rider" is not typical Hollywood popcorn fare. Viewers with short attention spans or those who hate all foreign film style films will likely not like this movie. Still, "Whale Rider" is an excellent start to open the eyes of a youth (or an adult) to ideas outside of what the studies usually throw at us.

Bottom line: We'd all be better off if we had more movies like this.

OK, it's been a while since this movie came out, but I finally felt I had to put in my 2 cents because of some of the more recent reviews which are just plain ignant in places.

First of all, the capsule: This is one of the great, great movies of all time. It's much more subtle (and kinder) than Once Were Warriors but perhaps translates a little less immediately for people outside of Polynesia because Niki Caro, herself a Pakeha (British-descended, non-Maori) New Zealander, doesn't feel compelled to explain Maori culture to outsiders. This reflects the increasing familiarity of many New Zealanders of all races and cultural backgrounds with Maori culture and in this respect it is the most mature bicultural film to come out of Aotearoa. However, at the same time, this does make it a bit harder for the poor old foreigners to understand or feel the more nuanced parts of the wairua (spirit) of this movie.

This is a movie that is uplifting, humane and deeply emotional. Anyone who thinks there is a "man-bashing" agenda here must have brought that particular mindset in with them. There are plenty of men who support Pai in the movie: her dad, her uncle, her friend Hemi (in an ungainly, preteen kind of way). Anyway, I digress. This movie rocks, and Niki Caro, the cast, and especially Keisha Castle-Hughes (Pai), Rawiri Paratene (Koro) and Vicky Haughton (Nanny Flowers) deserve huge praise for their wonderful work.

On to the more cultural stuff: First of all, if anyone has said this before then my apologies, but Koro is a modern Maori even if he has some old-fashioned ideas. He lives in the 21st century and is dealing with 21st century issues. This idea that only white people or people who live in cities are modern is something that continues to annoy me intensely. Although the movie doesn't hit you over the head with it, there are plenty of reasons why Koro is so desperate to find "the one": The hopelessness of the young people in the community, the lack of opportunity and an aimlessness that leads kids to drugs, gangs and to a systematic loss of faith in themselves and in their future. These things are at once familiar to anyone who works with rural young people in almost any industrialized country and also specifically a local issue because of the idea among quite a few people (including, sadly some of the kids themselves) that Maori youth and in particular rural Maori youth are expendable in the market-driven, vacuous, ad-saturated world of mainstream consumerist New Zealand society. Having spent some time in the far north of the country (in and around the Hokianga), I could recognize a lot of the kids and the older young people in the secondary characters of the movie.

That said, Koro is a traditionalist within the context of his particular part of the world and he does hold to the notion that women don't have the nature to wield the kind of mana (spiritual power) that is required of a chief. Nanny Flowers on the other hand, comes from the Arawa people where women did and do hold political power. Moreover she herself is descended from the great chiefess Muriwai, This is one of the reasons why she continually helps Pai and resists Koro's attempts to demean Pai just because she was born a girl. Flowers' stance is just as "traditional" as Koro's so this movie (in its typical, quiet way) challenges us to not to get too comfortable with easy pigeon-holing.

I also want to take issue with the people who felt the whole thing with the whales was too "New Age-y". In traditional Maori understanding, specific groups of people are connected by genealogy to landscapes, rivers, mountains and other natural resources including animals and plants. The original Whalerider, Paikea, established the link between the Ngati Konohi (the community shown in the movie) and the whales. As relatives, the whales are bound by obligations to the people, just as the people are bound by obligation to the whales. Koro's inability to call to the ancestors reflects the fact that he has lost some part of his mana as a descendant of Paikea because of his foolish adherence to the form of tradition, rather than its spirit. The whales beach not because Pai called them too close to the shore, but because their plight mirrors the plight of the people (directionless, failing and blind). This issue was downplayed by the director, and is the only place where, in my humble opinion, Niki Caro's instincts as a film-maker perhaps over-rode the need for an explicit narrative to the detriment of the film as a whole.

The whole issue of how to blend the "traditional" with the "modern" is the central axis of this movie. It's just a guess but I think that the reason why this movie was so incredibly popular when it finally made it here to Hawai`i was that it suggested that you can marry the two (tradition and modernity) together. That traditions can be changed without losing their ability to keep people strong and moral. That while traditions are the root that makes the tree strong, the branches of the tree should adapt to their own specific situation. The question of how to apply traditional ideas to modern contexts is one of the big issues facing colonized and disenfranchised peoples everywhere.

However, (and let me be clear about this) this is a different issue from the idea of cultural authenticity and cultural identity. No-one would argue that Europeans (or Euro-Americans, or Euro-New Zealanders) should practice 18th century European culture in order to be considered "authentic" white people. Why the heck should native people be held to a different standard?

One thing that might make some of this clearer, is to watch the "making of" documentary in the special features part of the DVD. This is a really nice piece of documentary film-making and it gives a much better sense of the real Maori community who hosted the film crew but also the tremendous pride and sense of connection that the actors and crew (both Maori and Pakeha) felt to the community and to the wairua that lies behind the film. Without the real people and the real culture, this would have just been a pretty story in a beautiful landscape. The reality is much, much deeper.

One other thing that might help people understand Whale Rider a little better is to learn a bit more about Maori culture. Some suggestions are: novels: "The Bone People" by Keri Hulme; anything by Witi Ihimaera (including the book the movie was based on "The Whale Rider" although for my money, "Tangi" is better), and Patricia Grace's "Potiki". In non-fiction: "Making Peoples" by James Belich, "Two Worlds" by Anne Salmond, "Tikanga Whakaaro" by Cleve Barlow (fairly rare these days but a great resource as is Hiwi and Pat Tauroa's "A guide to customs and protocol"), "Tikanga Maori" by Hirini Mead which is also very good but much denser and Linda Tuhiwai Smith's "Decolonizing Methodologies". Avoid anything by Alan Duff until you have some familiarity with what's really going on in Maori culture. Once you know something, you can also go back and look at movies like "Once Were Warriors" and "Utu" and appreciate the things they say (and don't say).

Niki Caro, Witi Ihimaera and the cast and crew of Whale Rider have made a beautiful and memorable addition to world literature. It's great as a story about an individual, but it's true greatness comes as a story about a people.

Whale rider is a moving and inspirational movie set in everyday New Zealand and based on Maori legend. Originally adapted from WIti Ihimaera's awarded winning novel and directed by Niki Caro it's the story about a young girl named Pai who is descendant from a long line of chiefs and must overcome all odds to prove her destiny.
The story takes place in the little town of Whangara, which is surrounded by tradition and mythology. The locals of Whangara belief that their ancestors came to New Zealand on a canoe. One man Paikea got thrown overboard but got carried back to shore on the back of a whale.
The main character Pai, lives with her grandparents Koro and Flowers. Her mum and twin brother died when Pai was born and her father left to go overseas. This leads Koro in search for a male heir and Pai fighting to be accepted as the rightful heir.
The film has a good message behind it and I thought it was unique and made the story more interesting the way they combined the outcome with the whale tale. Parts of the story were very deep and emotional and other parts were high-spirited.
The setting was in New Zealand and the camera gives the viewer a good view of their beaches and their village. I thought that the setting was appropriate and well detailed especially the wood carved meetinghouse. I thought the music had cultural significance.
The characters were good and the actors were very believable but I think that Keisha Castle-Hughes (Pai) did an even better job. Her character was very emotional and would have been really tough to play but she plays her part so well.
All in all this movie is definitely worth watching, it's a realistic and emotional plot that all ages can enjoy.