Skip to main content

Life of Pi

3.14159265358979323846264338327950288419716939937510... a never ending number with no logic, made some people believe in god.

After watching this film for the fifth time, i thought may be it's time to write something about it. It encapsulates so much through symbolism and momentary frames which is not possible to describe. 
It is a journey, it is a feeling, Alas! it is a moment!

**Spoiler Alert** For those who haven't seen the film.

Let's start with the book. I haven't read the book. A film is director's perception of a story and i wanted to feel and understand that' rather than Yann Martel's perception/belief/truth.

Though, I decided to read 'Beatrice and Virgil' to try to feel Yann Martel and believe me, he is a hell of an experimental storyteller. When we think there can be no new way of narrative story telling, he comes up with fantastic unbelievable ways to show you what he wants. However, the basic idea of using animals to remove stereotypical notions of people remains the same. This could be attributed to his life in India near zoos and other things. (We need this detail for analysis.)

'Life of Pi' resounds the life of Pi Patel. Well, symbolically, it isn't that. It represents the irrational number Pi, it's life. The number goes on and on. We can try and find a logic to get the next number in this decimal series, but it's random. Your logic will fail sooner or later. Many people regarded it as god's number and we are talking about the life of this living number.

Philosophically, this number is everyone. You, me and Piscine Molitor Patel.

The character of Pi is shown reading a story about lion and a boat (I can't recall the name), Albert Camus' L'etranger and Dostoevsky's Notes from the Underground. While reading fantasies one imagine things as they happen, Camus tells about how people take the right to be judgmental for granted and Dostoevsky cunningly and lovingly explains about morality: 
"When they prove to you that in reality one drop of your own fat must be dearer to you than a hundred thousand of your fellow-creatures, and that this conclusion is the final solution of all so-called virtues and duties and all such prejudices and fancies, then you have just to accept it, there is no help for it, for twice two is a law of mathematics. Just try refuting it."

These things are important to know to realize what kind of philosophy flows through the film.
In the next post we will discuss Camus and Dostoevsky: How Camus adopted Dostoevsky's 'The Possessed' in a play. He attempted something big ever done in theater history and how Ang Lee replaced Camus and Martel replaced Dostoevsky with same philosophy for 'Life of Pi' to take place.

Comments

Popular posts from this blog

The whimsical phrases of 'Capital I'

10 years from now, this film would be remade and probably then the original would be looked upon. There hasn't been a cinematic piece in a long time which was driven solely by such individualistic expression. Be it the philosophical discussion or contemplative imagery, everything screams of the psyche of one individual - 'Capital I'. **Read this after watching the film once** Visually profound and intelligently crafted, at the core of this film you can find an identity and a story embedded in each other. The story of a girl struggling to identify herself with a strict sexual orientation and resorts to 'something' to escape her reality, while a physics professor helps her resolve the conflict in her mind. The identity of a mysterious character named Capital I is presented through its work - visuals and poetry, driven by curiosity among various characters in the film about it. The film portrays the two themes uniquely, bravely. However a harmonic fusion betw

Sheru

'Sheru' is a Hindi word meaning LION in English, this was the closing statement of the film which stayed with me a lot longer than it's running time. An euphoric feeling of finding something special mixed with an attachment to the characters and story, made me write about it. Even though the structure is that of a typical Hollywood narrative - context, conflict, climax, but the film is more about the emotional depths it touches in that structure. The film left three words in my mouth - 'Brilliant Fucking Acting'. - Read this after watching the film once - As exhilarating it was an experience of discovering one's identity, this film, for it's commercial viability, has been biased to portray a one-dimensional story. However, the director leaves a few cues here and there to instill curiosity in the mind of an active watcher for other characters as well. Nicole Kidman playing the role of Sue Brierley narrates a vision of hers in which She sees a brown

Taste of Cherry!

Badii is set out on a journey in a car to find someone to do something. Enough suspense for a film to be interesting, isn't it? ** Spoiler Alert ** No matter how curious the plot makes you, I am sure your own reactions will make you more curious. Undoubtedly, the God of film-making knew the importance of giving space and time to viewers to be judgmental! Badii, while looking for someone, passes through a construction area with laborers around, which makes one think that maybe he is looking for some helping hand for construction. Thoughtfully, no hint is given to you. Then, We see Badii insisting a man who becomes irritated by him giving one a thought that probably he is gay. Beautifully, we see Badii as an outsider like all those people did with whom he had failed endeavors. Like us, they were judgmental about him without even knowing him. It's beautiful to see a man in confusion and trouble, making choices about the person who would bury him. Just like we form groups