The Whale YIFY
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I am submitting this review for the reader to ponder for themselves the deeper riddle at work within this most worthy viewing. You have a whale who has taken it upon himself to make contact with humans and he does so effectively and efficiently and without effort too. He is no fair weather friend either as he comes and goes and staying faithful to his new found social skills and interactions. The humans involved do the same. Here is where I get a glimpse of what it may have been like before Adam & Eve fell from grace (and order) and from their training to be stewards of all the earth and how animals may have interacted with man quite naturally too before the fall. Ancient DNA is triggered within the viewer to recall how all things would have answered to man and willingly gravitate toward him because of the natural order of things and how we would respond. Today, we have the opposite in effect testifying to the fall of man where animals wisely avoid us. Even so, we make hell for them a reality seeking them out. This was definitely not our true calling but the fallen one of which we pursue without conscience or common sense. The stewards of the earth have gone missing and instead, we have a predator prey dynamic in its place. Now watch this special and consider what I have said. It will become self-evident. Good discussion and reflection here and food for the soul if choose to believe it
I just (December 2011) got back from watching this at a nearby art-house theater. Too bad its distribution seems so limited, as it's truly excellent. It could be used in a school classroom to prompt discussions about what is consciousness and what does it mean to communicate with aliens. In a theater, it can either entertain and delight, or leave viewers with plenty to ponder. Several relationships with the whale are described as far deeper than one would have with a typical pet (a dog for example). Questions around just what it really means to be \"friends\" with another species are very much in the foreground throughout the film. The photography is stunning. The shots of landscape and water alone would thrill; lots of shots of different boats -both powered and rowed- and of floating logs for lumber and of people -both groups and individuals- come along with the mix too. But that's not all - there are also amazing closeups of whale-human interactions, whale-boat interactions, and more generally the whale under water. Initially I thought they were fancy special effects shots that were filmed only with great difficulty after lots of careful planning. I expected stand-in whales to be used, and was rather discombobulated when the narration made a point of saying every individual whale could be identified by its pattern of spots. But it turns out the shots are not staged or subbed at all; they're just plain real; this really is a documentary. Just the shots of huge decorated native canoes with singing rowers traveling over these remote waters are worth the price of admission. There are the whale sounds too. Sometimes they're featured, presented as listening to hydrophone recordings, clearly underwater. More often they're presented as just a completely natural and unremarkable part of some whale-human interactions, moving seamlessly from underwater to above and back. The journalists who took the pictures are shown almost exclusively in or near boats. So you might expect all the shots to be from boat height. But it's much more varied than that. Somehow there are shots from a great height (did they climb all day, or use a helicopter) and very long shots along with all the closeups and the underwater photography. Pacing and sequencing are excellent. You won't be gripping the edge of your chair, but you won't stop wishing to find out \"what happened next\" either - the experience stays comfortably in the middle. No violence nor blood is ever shown, and the one bit about an injury avoids closeups and goes by quickly. Inevitably different people have different ideas about how to treat the whale. There's more than one idea about how to \"be kind\". We even briefly see a completely different point of view: that the whale is just plain an unwanted nuisance or interruption and the whole situation should just somehow be made to \"go away\". The film is scrupulous about _not_ taking sides, about presenting _all_ the different points of view and not commenting on _any_ of them. When a boat trip was described as a \"reconciliation\", I was initially puzzled about just what had happened to split people so far apart they needed reconciling; the disagreements -although described quite adequately- do _not_ suffuse the feeling of the film. Despite the film's even-handedness, for myself (most likely it's a personal predisposition) I couldn't help concluding that the government bureaucracy had spent an awful lot of money -remaining politically correct at every point- but failed miserably to achieve their big goal of avoiding injury to either humans or animals. Further, it seemed to me they never ever managed to realize they had \"egg on their face\" and looked awfully silly.
I want to avoid putting a knock on a family friendly movie but this picture didn't quite do it for me. If not for the resilience and determination of young Paikea (Keisha Castle-Hughes), I'm not sure there's much going on in the story to recommend it as family fare. Her grandfather Koro (Rawiri Paratene), if portrayed in an American film, would have been considered a classic male chauvinist, while her own father Porourangi (Cliff Curtis) demonstrated the utmost in cowardly behavior by fleeing the scene following the death of his wife in childbirth. Not to mention Koro's dismissive behavior in shunning the young boy Hemi (Mana Taumaunuwhen) because he was bested by Paikei in that stick contest. These were just a couple of horrible examples I would point out that don't deserve to be role modeled in a purportedly family picture.The only other character besides Paikea I could positively relate to was Uncle Rawiri (Grant Roa), who took her under his roof and behaved in a manner befitting a responsible adult whenever he saw something amiss around him. As for the young Keisha Castle-Hughes, I thought she did a credible job in her role as Paikea, with a compassion and love for her grandfather that transcended his rude behavior and brought the story to a positive conclusion. However one has to interpret her ride on the whale as somewhat allegorical. It was not as mystical and fun filled in the way the movie's advance would make you suspect.
The Maori are a people with a long tradition going back generations... starting with the \"whale rider\" who brought his people to the island they live on now, descended up through the current chief. But the chief's first born son has moved away and abandoned Maori principles. And when his wife has a child, it is a girl. The chief must turn to outside his family to find a suitable new chief while his granddaughter is ready, willing and able.I watched this movie with my friend Chelsea and we looked at it from two very different angles. She sees it as a break from tradition, a new generation adapting the old principles to their own culture. A new world where a woman is capable of being chief. And I certainly see that as the primary story, where the young girl is subjected to torment from her grandfather (who is loving but comes across as a cruel, inhuman beast at times).But I also tried to put myself in the chief's shoes. Was he a misogynist Perhaps, though I don't think so. He had the weight of tradition on his shoulders, he had an entire race of people depending on him to keep the lineage intact and culture strong. And he firmly believed that this was how the elders wanted things to be. Compare this to many Christian religions that have only male elders -- while the followers may be accepting of women (and outsiders strongly encourage their acceptance) when your deity tells you to do things a certain way, what choice do you have Granted, the chief should have seen the signs, but tradition is strong.Did the young actress deserve an Oscar nomination for this film It's debatable. The film was pretty good, and her acting was pretty phenomenal for someone so young. Sure, she didn't do her on swimming scenes, but she produced the tears and those stoic looks. And, as I couldn't stop noticing, she definitely deserved an Oscar for \"best hair\". (It's interesting to notice all the islanders are very native-looking, but she looks glamorous even as a child).For a story of a people who must abandon tradition and accept the new order, this is pretty good. And being the Maori, it's especially powerful. Fewer and fewer native peoples are retaining their traditions, so it's both welcoming and sad to see one of the last hangers-on experience a paradigm shift.
Paikea Apirana (Keisha Castle-Hughes) lost her mother during her twin brother's birth. She lost both her mother and twin brother. Her father Porourangi (Cliff Curtis) runs away in grief. Her grandfather Koro is left to raise Paikea despite blaming her for the tragedy. Koro hopes to pass the traditional leadership to Porourangi but he leaves for Germany to do his art. He has a pregnant girlfriend there. Traditionally, the Whangara people comes from the first Paikea who arrived on the back of a whale. From then one, chiefs are first born male direct descendants of Paikea. Koro opposes any attempts by little Paikea to be in anything other than a traditional female role. Koro tries to train the village boys and keep Paikea out.This is a traditional underdog girl trying to be a leader in a man's world. Cliff Curtis is the movie star. Keisha Castle-Hughes is the endearing newcomer. Rawiri Paratene is the key. He's the villain but he cannot be so simple. His struggles have to be relateable. He's battling the end of a way of life. It has a beautiful magical ending. 59ce067264