Category: Whale Rider - Bailieborough Community School's online library
So why has Whale Rider been lauded by critics and audiences alike? So, every time Koro sees Pai—boisterous, intelligent, loving, lonely and The need for gracious love in family relationships is emphasized by the lack of it in Pai's life. Koro is sending a wave of whales to beach themselves on the shoreline as a test. Film is adapted from the novel Whale Rider (first published ) by Witi Ihimaera. Language: English As Paikea grows up, Koro learns to love the child. . The final test asked of the boys is one of endurance. Koro takes. Task 4: Whales and our relationship with the natural world page Task 5: Soundtrack The narrative focus stays with Paikea and Koro throughout the film. 2 The film is based on the book The Whale Rider by Witi Ihimaera. Ihimaera was.
She starts the journey but quickly returns, claiming her grandfather Koro needs her. Even so, Koro remains blinded by prejudice and even his wife Nanny Flowers cannot convince him that his granddaughter, Paikea, is the natural heir.
The old Chief Koro is convinced that the tribe's misfortunes began at Paikea's birth and calls for his people to bring their year-old firstborn boys to him for training. He is certain that through a grueling process of teaching the ancient chants, tribal lore and warrior techniques, the future leader of their tribe will be revealed to him. Meanwhile, deep within the ocean, a massive herd of whales is responding, drawn towards Paikea and their twin destinies. When the whales become stranded on the beach, Koro is sure this catastrophe signals an apocalyptic end to his tribe.Whale Rider: 15th Anniversary Edition - Official Trailer (HD)
But he is wrong. Only his granddaughter Paikea can hear and respond to the ancient call, can mount and ride the mystical whale of her ancestors into the depths - willing to make the ultimate sacrifice for her people and proving herself to be the true heir. The people in Whangara and the East Coast believe their ancestor, Paikea, came on the back of a whale.
The whale rescued him when his canoe over-turned. Ihimaera had taken his daughters to a number of action movies, and they had asked him why in all of those movies the boy was the hero and the girl was the one who was helpless.
Witi Ihimaera approved film director Niki Caro's adaptation: It's not just about a community that is faced with a particular problem of ancestry and succession, it's also about women and how they need to find and make their own way in society. Pai has become this iconic young girl who is desperately trying to seek her own sovereignty and her own destiny in a male-orientated world. We weren't pretending that the wharenui [meeting house] was there when it wasn't. The beach was there; the waka [canoe] was there; even Koro's house was there," explains cinematographer Leon Narbey.
The sight made him homesick for the area he grew up in, and made him think of the story of the ancestor of his area. Over a period of three weeks, he wrote "the Whale Rider" - a story of Kahutia-te-Rangi, a story of Whangara, of small-town rural New Zealand, a story of the changing and breaking of years of Maori tradition and teaching.
The story of a Maori chief whose eldest great-grandchild is not the boy he wanted. The story of a girl called Kahutia - Kahu - who could be the next chief.
Kahutia was a girl who was meant to be a boy. She is the first child of her generation in the chief's family, and her birth breaks a long line of chiefs, stretching back to Paikea himself. Further than that, when she was born her mother died, and her father was not willing to just put things behind him, marry again, and produce another child preferably a son any time soon.
In the movie, this is more tragic, more poignant. The movie is about a girl called Paikeaand over the opening scene, you hear her words: My twin brother died, taking our mother with him.
It is important to know here that the place of women in Maori society is much regulated by tradition. Women may not speak on a marae, they may not set foot on a waka traditionally a war canoethey may not learn to wield the taiaha spear. They cannot see a tekoteko panel or a canoe being carved.
Whale Rider () - PopMatters
They cannot take part in the schooling of future chiefs. It is the women who do the cooking, who do the karanga welcome for visitors to the marae. Women do not wear trousers on a marae. The women sing the waiata songs at the close of each speech, the men do the haka war dance. A woman cannot be chief. A kura school to instruct the youngsters of the tribe in the way of the ancient ones. And youngsters means males. Paikea does the karanga [welcome chant] for the manuhiri visitors while Nanny Flowers does the karanga for the tangatawhenua hosts.
Koro relents and suggests that Paikea can stay, but only if she sits at the back. She leaves, and learns the chant by listening through the windows, learns the taiaha [fighting stick or spear] from her uncle.
She bests one of the boys at the taiaha, on the marae [meeting place] grounds. Koro is angry, yells at her for breaking tapu sacredness. She can do no good as far as he is concerned: Were she a boy, she would be the one. In the book this whole exchange is present, and yet not as obvious. While the film is imperfect some plot turns are abrupt; the "aboriginal hoopla," as noted by the Village Voice's Michael Atkinson, "comes off as tribal ritual for its own sake"; the generally rousing tone doesn't detail the poor conditions or political difficulties the Ngati Konohi faceit has also inspired much devotion from critics and scholars of "indigenous film" recall that Harvey Keitel played a Maori tribesman in The Piano, meaning the movie image pickings are slim outside of New Zealand.
But even for its representational reductiveness, the film is akids' movie with something to say, looking at relationships between generations and individuals, across cultures and over oceans of bad feelings.
Whale Rider (2002)
Porourangi returns from Europe, where he's been selling and showing his art, making a living off his translations of his traditional culture. Koro passes predictable judgment: Furious, Koro cruelly turns his anger at the nearest, easiest, most vulnerable target, Pai, who overhears his pointless and unintended derision from the next room "Take her with you! She's no use to me! This crisis sparks a touching reunion between father and daughter, during which both parties assume her maturity beyond her years.
As Caro puts it, children "say what they feel, and we've all felt that. It's a real basic human experience, to be rejected. She's not so much charismatic or adorable though you might call her eitheras she is resilient, exquisite, and worthy. The DVD includes useful extras that illuminate the child's individual potency, her heritage, and "the New Zealand character," such as the featurettes, the factful "Te Waka: Building the Canoe," "Behind the Scenes" recounting the novel's inspiration and the film's productionand "Whale Rider: The Soundtrack Showcase," as well as deleted and unnecessary scenes such as one showing Porourangi's arrival at a celebratory community dinner; or Pai waking her father, sweetly, before Koro comes to the doorway to announce breakfast.
To find the real girl," says Caro in "Behind the Scenes. And she wants to be more than she is. But while the film engenders enthusiasm for her mythic abilities and her imminent fate, it also makes her rather like an ordinary girl. And that's her great strength and significance.
Pai is thoughtful and serious, but attuned to a kind of vibrant rhythm imaged here in her affiliation with the whales, but also having to do with the sea, and more abstractly, life cycles, breathing, and blood flow that kids often feel more acutely than adults. Think of all the images of girls in U. Pai is none of that, and so much more.