Director: Darren Aronofsky
Screenplay: Darren Aronofsky
Starring: Sean Gullette, Mark Margolis, Ben Shenkman
Year: 1998
Language: English
UK rental release: July 2002
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It's clearly been a huge week in the United States, so I thought I'd delve into the cinematic culture of our neighbours across the pond this time around. And did I pick a film centred around the success of a leader, or the democratic system of their nation, or even a movie on politics?...No. Instead, I've opted for an underground, surreal jigsaw of a story that challenges a person's perspective on existence and convictions within religion, while exposing potential underpinning cultures trying to overthrow an overbearing system...I can't help myself! I'm talking, of course, about "the-now-famous" Darren Aronofsky's directorial debut, Pi.
Max Cohen (Sean Gullette, Requiem For A Dream, Happy Accidents) is a genius. He isolates himself in his tech-strewn apartment like a cyber-punk hermit, applying his mathematical mind to solving life's most complicated and intricate problems. He sees numbers in every walk of life - everything belongs to a systematic pattern, that he endeavours to unravel. But a human mind can only be pushed so much, so he concentrates his focus on designing an über-computer named Euclid, to aid in his struggle to uncover the truth of life's paradigms.
One area he uses his new silicon friend for is to discover routine arrangements in the stock market; analysing the figures to uncover routine arrangements in a seemingly non-regulated numerical environment. This powerful device is clearly capable of such vast calculations, but a bug in the system crashes Euclid and produces a strange and random sequence of numbers. Could they have a hidden meaning?
While Max isn't pontificating on life's design (or repeatedly trying to mend his computer), he unwinds by playing the ancient game of Go with his long-time colleague, Sol (Mark Margolis, The Wrestler, The Fountain) - a mathematician of his own reckoning. Max confides in Sol through his trials and failures, and he is consoled by his colleague while able to discuss his discoveries in depth with a like minded fellow. But Sol can see the path that Max is travelling on of which he is blind to, familiar with the stress and pain that he will continue to imbue himself in if he continues on this journey.
But it's when Max meets a new gentleman appreciative of his hunt for truth that he falls victim to ignoring Sol's advice. Lenny (Ben Shenkman), part of a Hasidic Kaballah sect open his mind to the possibilities of the world's link with numbers and patterns, happy to discuss the geometry of our existence. Lenny believes that Max is on to something, and that the number Euclid provides is a key to something of a higher order. As Max is pulled from one side by the Hasidic Jews and the other from a thriving interest from members of Wall Street, his mental state is challenged. As he starts to suffer from blackouts and hallucinations, he starts to question his own sanity while at the same time wonders if releting to these new psychedelic messages could provide the answers he so desperately seeks.
At the 1998 Sundance Film Festival, a young new film maker was allowed to premier his first movie, Pi, in the hope of generating some success. Taken from the fact that the entire film budget (reported at around $60,000) was sourced purely from $100 donations from friends and family, he needed to be able to provide some return. Thankfully, with winning the Directing Award at the same event, and receiving Film Independent's "Independent Spirit Award" for Best First Screenplay, the signs were good...especially when Artisan Entertainment bought the distribution for $1million, with the film then going on to take over $3million at the box office...not a bad investment!
Darren Aronofsky must look fondly back at this moment, as it was the key to opening the door to further success and making him the director he is today. What's interesting though is going back to visit his first feature and seeing how far he's come and what influences he's taken from it.
There's no doubt that Pi is an art house picture. From it's black-and-white scheme and interesting film angles, the entire piece is a courageous exploit through filming techniques. Mind you, these methods are vital for the piece, as it sets the relevant tone throughout and keeps you in the correct state of being. And with a tale as original and intriguing as this, the non-conventional style is a welcome companion.
Speaking of the story, it's advisable that you keep a clear head while sitting down to take in this film. Each person takes away a different perception of its approach and you will only find yours if you stay focused and alert. Then again, it is still enjoyable as a visual treat and a collection of great performances, but it's the themes and script that really hold the piece and you must allow yourself to become embroiled in them.
Said themes are an interesting combination. One one side, there is the religious aspect, predominantly from the belief Kabbalah and the hunt for [enter spoilers here]. Then on the other we are taken through the logical realm of mathematics, and applying it to standard living. Numerical codes in religion, and Golden Spirals predicting our choices are just some examples of the theories thrown at you every time you discover a little bit more of Max's pursuit for answers. And then, Aronofsky throws in the game of Go as a different context on the design of the universe. All of these concepts paint an intricate landscape to lose yourself in, while you're trying to work out where the tale is going.
It's difficult material to handle, and Aronofsky has cast some great actors for the piece. The seasoned experience of Margolis and the refreshing passion of Shenkman's performance provide us with the necessary spectrum of response for the character of Max, but it's Gullette's take on the lead that pins the entire movie together. Sometimes cold, sometimes aloof, sometimes boiling inside, it's an incredibly confident take on a mysterious individual and he is the final breath to give this small film the air to become something higher.
Darren Aronofsky has become a household name of recent years, and a stamp of approval for good quality dramas and thrillers. His earlier works, including Pi, were extremely brave and challenged the general concept of film-making but what's clear is that he has taken his methods right through tot the modern day with his more recognisable movies such as The Wrestler and Black Swan. All of his features still have a vein of bleakness, which at an initial viewpoint would be very off-putting, but with Aronofsky's films this darkness thrives and takes on a life of its own, becoming the ironic light that gives his films their heart.
It's not often that you find a film so confident in it's themes, while standing the test of time. I watched this film only a couple of years after it's release, and then again very recently, and I'm pleased to say that it hasn't lost its edge. It's still one of the most unique films to come out of the US, and on repeat watches can take you on numerous different journeys. A good thinker, and a good thriller!
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