Whale Rider

Whale Rider is an exceptionally powerful film in which the main character, Paikea Apirana, undoubtedly attains prominence and respectability.  She does this through the fulfilment of her destiny; by becoming the person she knows she is meant to be.

The scene in which her transformation comes about is when she encourages a beached whale back into the sea, riding it as her ancestor did (see fig. 1).

Fig.1; Paikea climbs onto the whale and rides it into the sea; still taken from Whale Rider

The non-diegetic sound used in this scene is extremely important to our understanding of her transformation (see fig 2).  

Fig.2; The music used in the whale riding scene; "12. Paikea's Whale-Whale Rider soundtrack"; 21 August 2011; YouTube; Web video; 28 April 2015

As she approaches the whale the music is low and drone like, evoking a sense of tension and suspense.  This is juxtaposed against her complete calmness, allowing us to see and feel as if she knows exactly what she is doing, she is where she belongs.  As the music progresses we hear long, wailing notes, reminiscent of whale song.  This allows us to fully appreciate the atmosphere, to “experience the movie as immediate and enveloping” (Corrigan and White 196). It also reinforces the idea of Pai’s connection with the whales, as we are seeing her as we ‘hear’ them (see fig 3).

Fig. 3; We see Pai's connection with the whales as we hear the whale-like music; still taken from Whale Rider

The diegetic sound also highlights the sense of Pai belonging with the whales.  This is primarily seen through the juxtaposition of her underwater and the sounds on the beach.  As she goes underwater with the whale, virtually all sound dies out, bar the subtle, dulled sound of being beneath the sea.  This is contrasted with the shouting, wailing and persistent breaking of waves on land to show Pai’s serenity under the water, her utter peacefulness and tranquility (see fig. 4).  This reinforces the idea of her belonging with the whales, and by being with them she is becoming the person she knows that she truly is.

Fig. 4; Pai's serenity under the water contrasts with the despondence on land; stills taken from Whale Rider.

The cinematography in this scene also allows us to see Pai transforming into her true self, particularly the use of slow motion.  This dramatizes the sequence, allowing us to see its significance, and through this we are able to appreciate the magnitude of the moment and of Pai’s transformation.

Another effective element of cinematography used is the overhead shot of Pai going under the water, riding the whale.  This is an extremely effective shot, as we see her entering the whale’s world, becoming one with it and in doing so fulfilling her destiny.  The overhead shot allows us to take a God-like perspective, suggesting that we are looking down on her from the point of view of her ancestor Paikea, thereby reinforcing the idea of her fulfilling her destiny.      

Through these elements we can easily see Paikea’s transformation into the person she knows she is meant to be.  It is undeniable that this is an extremely powerful and poignant coming of age moment.

Works Cited

Whale Rider. Dir. Niki Caro.  South Pacific Pictures, 2002. Film

Corrigan, Timothy and Patricia White.  The Film Experience: An introduction. 3^rd ed. Boston: Bedford/St. Martin’s, 2012. Print.