PI (1998)
A Film Review by Ted Prigge
Copyright 1999 Ted Prigge
Director: Darren Aronofsky
Writers: Darren Aronofsky, Sean Gullette, and Eric Watson
Starring: Sean Gullette, Mark Margolis, Ben Shankman, Pamela Hart, Stephen Pearlman, Samia Shoaib, Ajay Naidu
Made for about the same amount of money that I earned during an entire summer break slaving at Radio Shack, "Pi" is an incessantly cool-looking paranoiac thriller, all the more interesting because it's budget was so excrutiatingly low (as I've already mentioned). Like a German Expressionist Film from the 20s, it nearly takes pride in the lack of resources it has, and creates a unique-looking world from what technology it has, meaning stark, unrealistic black and white photography, lots of shadows and pale faces, and a story that relies more on visuals and crazy images than entities like acting and plotting. In fact, the way it's shot is as appropriate as the way this year's "The Celebration" was shot: that Danish film gave a feeling of hidden home video, and this film puts us directly into the mind of its protagonist, a brilliant mathematician, Max (Sean Gullette), whose sanity wanes as the film progresses. The plot - about Max trying to find patterns in the stock exchange and therefore predict it - is not nearly as important as what the film's main theme is: that knowledge is a crutch, and the more you know, the more in danger you are.
With balding hair and a world-wearied facade, Max lives a lonely life, but doesn't seem to mind completely since his entire apartment is packed with computers and machines. At the top of this cluttered mess is a standard stock market scrolling marquee that ominously reveals the information that he needs to know to complete his work. The people we meet are either loners themselves (a wise older man whom he plays chess with, played by Mark Margolis), those out to profit from his knowledge (a woman who works for a brokerage, played by Pamela Hart), or well-meaning neighbors (an Indian woman, played by Samia Shoaib, who seems to have a sweet crush on him). The main plot kicks into gear immeadiately, as he runs into a seemingly friendly Jewish scholar (Ben Shankman) who piques his interest in finding what may be the Name of God from the Rosetta Stone. According to him, God has as many numbers as the project he's working on. Max begins working on all of these, and slowly passes over the brink of sanity, just as those who would profit from him begin to become more and more belligerent (if you've ever wanted to see irate and deadly Jewish scholars, have I got a movie for you...). But is this all part of his growing insanity, this film seems to question, as it shows off more and more crazy sequences, like a creepy scene where Max stumbles onto what seems to be a human brain in the subway.
Filled with manic imagery and a great techno soundtrack, "Pi" should be an absolutely astounding motion picture, like the two films it's been compared to, Orson Welles' "The Trial" and David Lynch's "Eraserhead," both which feature many of the same elements of stark black and white photography, extensive use of chiaroscuro lighting techniques, and a paranoiac overtone. But "Pi" doesn't completely deliver. The way it's made is superb, and I have no doubt that Darren Aronofsky's future in film will be a promising and exciting one, just from the way he directs this film. But it just needs a better script. The story of Max is interesting, but it's hackneyed with an interesting but way too simple theme, that being that too much knowledge alienates us and drives us into insanity. It's almost a pity that it deals with this direclty on the surface and doesn't let itself become free and complicated: all the plot elements, while interesting, are only there to serve the theme, and it becomes less of a human story. When you think of either "The Trial" or "Eraserhead," you not only remember the complicated storylines and numerous themes, but you also remember the lead characters, respectively the irate but guilty Joseph K. (played by Anthony Perkins) and the lonely-to-a-fault Henry Spencer. Max, while interesting and greatly played by Sean Gullette, is still nothing much more than a catalyst to bring about the theme.
In fact, by the end, looking back on the plot, I was wondering if this was all there was. If this wasn't told the way it was, it'd be a totally forgettable albeit somewhat effective thriller (somewhat referring to the amount of horror that Jewish scholars and rabbis on your trail bring about). But it is told in a great fashion. Aronofsky is effective with his shot designs and camera movements, and his look has that of a nightmare, as if it was the world from the POV of a slightly deranged and cut-off genius, and we are quickly and effortlessly sucked into Max's world, and feel the pain and horror that he witnesses, like the way "The Trial" and "Eraserhead" are directed. And this world is as fresh and unique-looking as those two films. He's so effective that you soon ignore the plot, and concentrate on the hypnotic visuals that are being presented to us, so that later on you don't recall the potentially frightening elements of the plot but rather the insanity of the film's look. Great ending too; in fact, an unforgettable ending, just like the design of the film, but while you can't forget the images, do you even remember what it's about?
MY RATING (out of 4): ***1/2
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