“Whale Rider”
Miramax Films
Directed by Niki Caro
Screenplay by Niki Caro, based on the novel by Witi Ihimaera
Produced by John Barnett, Frank Hübner and Tim Sanders
Starring Keisha Castle-Hughes, Rawiri Paratene, Vicky Haughton, Cliff Curtis, Rawinia Clarke, Tammy Davis, Grant Roa, Mana Taumaunu, Rachel House, Taungaroa Emile and Mabel Warekawa-Butt
Rated PG-13
Opens Friday at the Broadway
(out of four)

“Whale Rider’s” triumph is that it manages to celebrate and criticize tradition at the same time. It isn’t an ordinary film about an 11-year old girl who wants to be the chief of her Maori Indian tribe, or a simple moral tale about how the indigenous people are wise and should preserve their culture. The film’s characters are real people, dealing with their own prejudices and shortcomings while living a modern life in which they’ve incorporated their culture.

Pai, played by the sparky young Keisha Castle-Hughes, has the family lineage to be the next chief of the Whangara people, who live on the East coast of New Zealand. For 1,000 years, the title has gone to the first-born descendants of Paikea, who rode on the back of a whale to get ashore after his canoe wrecked. The only problem is that Pai is female.

Her father didn’t want to be chief and left the village long ago, returning only for an occasional visit, and leaving his father, Koro (Rawiri Paratene), disappointed with a granddaughter and an imminent break in the lineage.

Still, Koro plays an active part in Pai’s childhood after her father’s departure, teaching her about the tribe and its traditions—until it comes time to pick one of the young boys of the town to be the new chief. Pai loves the tribe and thinks she deserves a chance to prove herself. Koro thinks that if the tribe went so long without a woman as chief, it shouldn’t change things now. The two start fighting as Pai sets out to prove herself.

“Whale Rider” has thrilled audiences throughout the world. At Sundance, it received enthusiastic standing ovations and surprised no one when it won the World Cinema Audience Award, just one of the many audience-chosen festival awards that it has received.

The appeal is simple: Rather than going the obvious route by telling a quick parable, the film creates vivid characters, recognizable from real life. They drive the story, instead of plot devices dragging them through idiotic mistakes and discussions. Even supporting characters like Pai’s uncle and grandmother display an authenticity that films often abandon in favor of shortcuts that avoid writing real characters.

Director/screenwriter Niki Caro superbly brings the characters to life to involve the audience emotionally in the story, giving a reason to follow the film even to those who aren’t interested in native New Zealand culture.

But the film also incorporates a rare look at Whangara culture into the story, displaying rituals as Koro teaches the young Pai about traditions, and later as he searches for a boy to take his place and as he puts the children through a number of tests to find out if they are worthy of being chief.

Cinematographer Leon Narbey paints a romantic view of the village, with glorious waves and beautiful skies. It’s easy to see why Pai and Koro love it so much that they’re willing to fight for it.

Caro uses this dynamic to create a parable about cultural change that transcends any trite politics with masterfully realized characters.
jeremy@red-mag.com