life of pi

A novelist has come to talk to Pi Patel, a middle-aged Indian immigrant living in Canada. Pi's parents named him Piscine Molitor after a swimming pool in France. As a child he changed his name to "Pi" (the mathematical symbol, π) because he was tired of being called "Pissing Patel". In flashback it was seen that his family owned a zoo, and Pi took great interest in the animals, especially a Bengal tiger named Richard Parker. When Pi tries to feed the tiger, his father forces him to witness it kill a goat. Pi is raised Hindu and vegetarian, but at 12 years old, he is introduced to Christianity and then Islam, and starts to follow all three religions as he "just wants to love God."
When Pi is 16, his father decides to move the family to Winnipeg in Canada, where he intends to settle and sell the zoo animals. They book passage on a Japanese freighter. One night there is a storm; the ship begins to founder while Pi is on deck. He tries to find his family, but a crew member throws him into a lifeboat. Pi watches helplessly as the ship sinks, killing his family and the crew. After the storm, Pi finds himself in the lifeboat with an injured zebra, and is joined by an orangutan. A spotted hyena emerges from the tarp covering half of the boat, and kills the zebra and then, the orangutan. Suddenly the tiger Richard Parker emerges from under the tarp, killing the hyena.
Pi gets out biscuits, water rations, and a hand axe. He builds a small raft and stays at a safe distance from the tiger. Pi begins fishing and is able to feed the tiger. He also collects rain water for both to drink. When the tiger jumps off to hunt fish, at first Pi wants to let it drown, then he relents and helps it climb back into the boat. After many days at sea, Pi trains the tiger to accept him in the boat. He also realizes that caring for the tiger is keeping him alive. Weeks later and half dead, they reach a floating island. Both Pi and Richard Parker eat and drink freely and regain strength. But at night the island transforms into a hostile environment: the fresh water turns acidic, the resident meerkats sleep in the trees, the plants are carnivorous. Pi discovers the island's secrets when he finds a human tooth. Pi and the tiger leave.
The lifeboat eventually reaches the coast of Mexico. Pi is crushed that that the tiger does not acknowledge him before disappearing into the jungle. Pi is rescued and carried to hospital, weeping. Insurance agents for the Japanese freighter come to interview him. They do not believe his story and ask what "really" happened. He tells a less fantastic account of sharing the lifeboat with his mother, a sailor with a broken leg, and the cook. The cook kills the sailor to use him as bait. In a later struggle, Pi's mother pushes him to safety on a smaller raft, and the cook stabs her as she falls overboard. Later, Pi returns, takes the knife and kills the cook.

In the present day, the novelist notes the parallels between the two stories: the orangutan was Pi's mother, the zebra was the sailor, the hyena was the cook, and Richard Parker, the tiger, was Pi himself. Pi asks him which story the writer prefers, and the writer chooses the one with the tiger because it "is the better story", to which Pi responds, "And so it is with God". Glancing at a copy of the insurance report, the writer sees they wrote that Pi somehow survived 227 days at sea with a tiger: the insurance agents had also chosen the more fantastic story.The Taiwan-born Ang Lee rapidly established himself in the 1990s as one of the world's most versatile film-makers, moving on from the trilogy of movies about Chinese families that made his name to Jane Austen's England (Sense and Sensibility) and Richard Nixon's America (The Ice Storm). If he revisits a place or genre it's to tell a very different story – a martial arts movie in medieval China (Crouching Tiger, Hidden Dragon) is followed by a spy thriller in wartime Shanghai (Lust, Caution), and a western with a US civil war background (Ride With the Devil) is succeeded by a western about a gay relationship in present-day Wyoming (Brokeback Mountain).
He adopts different styles to fit his new subjects, and while there are certain recurrent themes, among them the disruption of families and young people facing moral and physical challenges, there are no obsessive concerns of the sort once considered a necessity for auteurs. He has a fastidious eye for a great image but he also has a concern for language.
His magnificent new film is a version of Yann Martel's Booker prize-winning novel, Life of Pi, adapted by an American writer, David Magee, whose previous credits were films set in England during the first half of the 20th century, Finding Neverland and Miss Pettigrew Lives for a Day. From its opening scene of animals and birds strutting and preening themselves in a sunlit zoo to the final credits of fish and nautical objects shimmering beneath the sea, the movie has a sense of the mysterious, the magical. This effect is compounded by the hallucinatory 3D, and in tone the film suggests Robinson Crusoe rewritten by Laurence Sterne.
The form is a story within a story within a story. An unnamed Canadian author whom we assume to be Yann Martel himself (Rafe Spall) is told by an Indian he meets that there is a man in Montreal called Pi who has a story that will make you believe in God. He's Piscine Molitor Patel (Irrfan Khan), a philosophy teacher, and he tells the curious story of his own extraordinary life, beginning as the son of a zookeeper in Pondicherry, the French enclave in India that wasn't ceded until 1954.
The movie's two central characters both obtained their names by comic accident. The deeply serious Piscine (played by Gautam Belur at five, Ayush Tandon at 12 and Suraj Sharma at 16)was named after an uncle's favourite swimming pool, the Piscine Molitor in Paris, but changed his name to the Greek letter and numinous number Pi after fellow schoolboys made jokes about pissing. He later became fascinated by a Bengal tiger in the zoo caught by the English hunter Richard Parker who called him Thirsty. On delivery to the zoo their names were accidently reversed and the tiger became Richard Parker. Was this fate or chance?
Growing up, the ever curious Pi becomes attracted to religion and the meaning of life, a spiritual journey that the film treats with a respectful wit as the boy rejects his father's rationalism and creates a personal amalgam of Hinduism, Christianity and Islam. His faith is tested as an adolescent when his father is forced to give up the family zoo, where Pi realises he's been as much a captive as the animals themselves. A Japanese freighter becomes a temporary ark on which the Patel family take the animals to be sold in Canada. But it's struck by a storm as dramatic as anything ever put on the screen, and Pi becomes a combination of Noah, Crusoe, Prospero and Job. Alone above the Mariana Trench, the deepest part of the Pacific, he's an orphan captaining a lifeboat with only a zebra, a hyena, a female orang-utan and the gigantic Bengal tiger Richard Parker for company.
This is grand adventure on an epic scale, a survival story that takes up half the movie. It's no Peaceable Kingdom like Edward Hicks's charming early 19th-century painting, where the lion sleeps with the lamb. This is a Darwinian place that Pi must learn to command. Using state-of-the-art 3D and digitally created beasts, Lee and his team of technicians make it utterly real, as they do a mysterious island that briefly provides a dangerously seductive haven. The 227 days at sea are a test of physique, mental adaptation and faith, and Suraj Sharma makes Pi's spiritual journey as convincing as his nautical one.
He confronts thirst and starvation, finds a modus vivendi with the fierce tiger, endures and wonders at a mighty storm, a squadron of flying fish, a humpbacked whale, a school of dolphins, a night illuminated by luminous jellyfish. This brave new world is observed by a young Chilean director of photography, appropriately named Claudio Miranda. The movie does for water and the sea what Lawrence of Arabia did for sand and desert, and one thinks of what Alfred Hitchock, who used 3D so imaginatively in his 1954 film of Dial M For Murder, might have done on his wartime Lifeboat had he been given such technical facilities.
This poetic Life of Pi concludes with a fascinating, deliberately prosaic coda that raises questions about the reality of what we've seen and confronts the teleological issues involved. One thinks of the reporter's remark at the end of The Man Who Shot Liberty Valance: "When the legend becomes fact, print the legend." At another level, Sam Goldwyn's advice to the screenwriter comes to mind: "Give me the story and send the message by Western Union."