As one can probably tell from this film's plot description, this is no ordinary sci-fi film. It doesn't have any spaceships or laser guns, or aliens or futuristic settings. Shot on an unbelievably minuscule budget of $60,000, writer/director Darren Aronofsky has instead delivered a decidedly cerebral and assuredly thought-provoking debut feature. While it may not be to everyone's liking and may itself prove to be maddening to others, one thing is unmistakable. It's doubtful you'll see any other film this year that's as disturbingly mesmerizing as this one.
Filmed on an extremely grainy, black and white film stock, the film exudes a nightmarish paranoid quality throughout. Kafka-esque in its approach, the film is also reminiscent of early David Lynch work as well as the great silent horror pictures of the 1920's. Limited by a budget that wouldn't cover much of a catering fee on a normal Hollywood film, Aronofsky has been forced (by necessity) to utilize something most big budget filmmakers have totally overlooked or even forgotten.
And that's the audience's imagination. What made those old horror pictures so great, and what Hitchcock and other masters so effectively utilized during their careers was the ability to allow the moviegoer to "fill in the blanks" so to speak. In the pre-1960's era when directors weren't allowed to show everything up on the screen like you can today, one's imagination was just as important as any celluloid element.
Aronofsky (whose efforts won him the director's award in the drama category at this year's Sundance Film Festival) takes that to extremely effective, but near often maddening levels. Not only does Matthew Libatique's overexposed and then shadowy cinematography keep the audience constantly off balance, but the mysterious plot also manages to keep everyone guessing as to what's really occurring. Are spooky, near supernatural events popping up all around Max? Or is he just hallucinating as his overworked mind finally begins to short circuit? Then there's the possibility that all of what transpires never really occurs in the first place.
Part of what also makes the film so mesmerizing is its cerebral quality. This is easily what would be labeled as a thinking person's film, and it delivers many thought provoking, but occasionally creepy, intelligent moments. One of the more powerful ones occurs when Lenny, a Jewish numerologist, explains that in Hebrew, the letters all have numerical equivalents. As he demonstrates to Max, the sum of the numbers for "man" (3) and "woman" (41) equals the number for "child" (44). Beyond that, the film also focuses on the mathematical genius of the ancient Japanese board game of "Go," and the trials and tribulations of other ancient mathematicians.
Combining Clint Mansell's hypnotically pulsating sci-fi score, Oren Sach's purposefully jumpy editing, and the nightmarish black and white photography, Aronofsky has also delivered enough of a paranoid thriller to please fans of that segment of the sci-fi genre. Since we're never sure what's real and what's a hallucination, we easily find ourselves on the same playing field with the main character who's troubled by that same problem.
Actor Sean Gullette (making his debut) delivers a compelling enough performance that elicits enough compassion from the audience that we really do end up caring for his plight. A perfect character study of a man so obsessed with his quest that his societal, physical and mental aspects of his life rapidly deteriorate, Gullette's performance is often unsettling to watch, but always captivating.
The supporting performances, from Mark Margolis (a bit player in many films) as Max's mentor, to Ben Shenkman (another bit player) as a man who wants Max's findings for profound religious reasons, are good but not outstanding. Delivered in a stripped-down fashion, they do, however, collectively -- and quite effectively -- lend to the mysterious atmosphere engulfing the film.
Although this picture won't get very far or even be seen by many film goers, it's one heck of a calling card for Aronofsky and will easily get him noticed by the studios. One can only hope, however, that he doesn't forget or forgo what he's so successfully and efficiently delivered in this film.
With the inevitable big budgets that will be dangled in front of him, it will be a true test as to whether he'll be able to retain his imaginative and creative control over his next picture. While this film nearly spins out of control near the end, and obviously isn't for everyone and may be too bizarre and/or intense for others, it is a powerful and often brilliant piece of filmmaking. We give "Pi" a 7.5 out of 10.