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"Whale Rider" arrives in theaters already proven as one of the great audience-grabbers of recent years. It won the audience awards as the most popular film at both the Toronto and Sundance film festivals, played to standing ovations, left audiences in tears. I recite these facts right at the top of this review because I fear you might make a hasty judgment that you don't want to see a movie about a 12-year-old Maori girl who dreams of becoming the chief of her people. Sounds too ethnic, uplifting and feminist, right? The genius of the movie is the way is sidesteps all of the obvious cliches of the underlying story and makes itself fresh, observant, tough and genuinely moving. There is a vast difference between movies for 12-year-old girls, and movies about 12-year-old girls, and "Whale Rider" proves it.

The movie, which takes place in the present day in New Zealand, begins with the birth of twins. The boy and the mother die. The girl, Pai ( Keisha Castle-Hughes ) survives. Her father, Porourangi ( Cliff Curtis ), an artist, leaves New Zealand, and the little girl is raised and much loved by her grandparents Koro and Nanny Flowers.

Koro is the chief of these people. Porourangi would be next in line but has no interest in returning home. Pai believes that she could serve as the chief, but her grandfather, despite his love, fiercely opposes this idea. He causes Pai much hurt by doubting her, questioning her achievements, insisting in the face of everything she achieves that she is only a girl.

The movie, written and directed by Niki Caro , inspired by a novel by Witi Ihimaera , describes these events within the rhythms of daily life. This is not a simplistic fable but the story of real people living in modern times. There are moments when Pai is lost in discouragement and despair, and when her father comes for a visit she almost leaves with him. But, no, her people need her--whether or not her grandfather realizes it.

Pai is played by Keisha Castle-Hughes, a newcomer of whom it can only be said: This is a movie star. She glows. She stands up to her grandfather in painful scenes, she finds dignity, and yet the next second she's running around the village like the kid she is. The other roles are also strongly cast, especially Rawiri Paratene and Vicky Haughton as the grandparents.

One day Koro summons all of the young teenage boys of the village to a series of compulsory lessons on how to be a Maori, and the leader of Maoris. There's an amusing sequence where they practice looking ferocious to scare their enemies. Pai, of course, is banned from these classes, but she eavesdrops and enlists a wayward uncle to reveal some of the secrets of the males.

And then--well, the movie does not end as we expect. It does not march obediently to standard plot requirements but develops an unexpected crisis and an unexpected solution. There is a scene set at a school ceremony, where Pai has composed a work in honor of her people and asked her grandfather to attend. Despite his anger, he will come, won't he? The movie seems headed for the ancient cliche of the auditorium door which opens at the last moment to reveal the person that the child onstage desperately hopes to see--but no, that's not what happens.

It isn't that Koro comes or that he doesn't come, but that something else altogether happens. Something in a larger and more significant scale, that brings together all of the themes of the film into a magnificent final sequence. It's not just an uplifting ending, but a transcendent one, inspired and inspiring, and we realize how special this movie really is. So many films by and about teenagers are mired in vulgarity and stupidity; this one, like its heroine, dares to dream.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Whale Rider (2003)

Rated PG-13 For Brief Language and A Momentary Drug Reference

105 minutes

Cliff Curtis as Porourangi

Vicky Haughton as Nanny Flowers

Keisha Castle-Hughes as Pai

Grant Roa as Rawiri

Rawiri Paratene as Koro

Mana Taumaunu as Hemi

Rachel House as Shilo

Based On The Novel by

• Witi Ihimaera

Directed by

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Whale rider, common sense media reviewers.

Excellent, gorgeous Māori drama has uplifting messages.

A Lot or a Little?

What you will—and won't—find in this movie.

It's important to value and respect your culture,

Pai demonstrates extraordinary integrity, persever

A landmark in the depiction of Māori culture (and

Beached whales die despite efforts to save them, b

Non-sexual situations include a girl bathing, her

One use of "s--t." During a training session, the

Adult characters drink socially. Some, including a

Parents need to know that Whale Rider is a New Zealand coming-of-age film based on a book by Witi Ihimaera and features Māori leads. The film has some intense moments, including the deaths of whales and young characters learning fighting techniques, but nothing bloody is shown. Language includes "d--k" and…

Positive Messages

It's important to value and respect your culture, while understanding that you can also defy outdated principles. Show integrity by staying true to yourself.

Positive Role Models

Pai demonstrates extraordinary integrity, perseverance, courage, and strength of character as she learns everything that the next leader of her people must learn, all while keeping it secret from her disapproving grandfather. Pai understands the importance of teamwork and shows others why she needs support. Koro has compassion for others and for himself, learning that he's made mistakes and mending his ways for the benefit of future generations.

Diverse Representations

A landmark in the depiction of Māori culture (and directed and written by female director Niki Caro), the film features a largely Indigenous ensemble, including leads Keisha Castle-Hughes (whose mom is Māori) and Cliff Curtis (also Māori). Characters have a wide range of body types and ages, and though they're mostly male, the film critiques their sexist behavior. Pai uses her strength, smarts, and independence to rise above men's expectations for her.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Beached whales die despite efforts to save them, but no blood is shown. Boys are taught traditional fighting techniques (no one gets hurt). A leader is hit during training; he praises the boy who hit him. The main character briefly disappears underwater, and it's unclear whether she's dead or alive (there's no lasting damage).

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Non-sexual situations include a girl bathing, her back visible, and boys and men who are often shirtless. There's a clinical reference to a woman being pregnant.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

One use of "s--t." During a training session, the leader promises that boys' "d--ks" will fall off if they don't follow his directions.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Adult characters drink socially. Some, including a teen, smoke cigarettes but try to hide it. A bag of marijuana and drug paraphernalia are shown.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Whale Rider is a New Zealand coming-of-age film based on a book by Witi Ihimaera and features Māori leads. The film has some intense moments, including the deaths of whales and young characters learning fighting techniques, but nothing bloody is shown. Language includes "d--k" and one use of "s--t." Characters drink and smoke cigarettes, and both a bag of marijuana and drug paraphernalia are briefly shown. Written and directed by Niki Caro , the film is a landmark for Māori representation, casting Indigenous actors of various ages and body sizes, and centers around a young woman, Pai ( Keisha Castle-Hughes ), who rises above men's expectations for her. Positive messages include the importance of having integrity, and valuing and respecting your culture, while understanding that you can also defy outdated principles. Characters also demonstrate courage and integrity. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

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Community Reviews

• Parents say (15)
• Kids say (23)

Based on 15 parent reviews

Great film!

What's the story.

WHALE RIDER is set in a Māori community in New Zealand. According to legend, the Māori came to Whangara when their great leader, Paikea, led them by riding on a whale. Ever since, they've been led by Paikea's descendants. The movie begins with the birth of twins, the latest in that family line. But the male twin and his mother die. Over the objection of the current leader, Koro (Rawiri Paratene), the female twin who survives is named Paikaea ( Keisha Castle-Hughes ). Her heartbroken father leaves New Zealand, and Pai is left to be raised by her grandparents. Grandfather Koro loves Pai deeply, but he's still bitter about not having a male heir. When Pai is 12, Koro assembles the local boys to start training them in the traditions of their culture and test them to see who has courage , skill, wisdom, and leadership to follow in his own footsteps. It's clear to Pai's grandmother (Vicki Houghton) and to Pai herself that she has all those qualities, but Koro, struggling fiercely to maintain his pride and identity against the assaults of the modern world, can't allow himself to consider such a change.

Is It Any Good?

Writer-director Niki Caro 's sensitive filmmaking does justice to the moving story (based on a book by Witi Ihimaera) The modest buildings in Whale Rider , set against starkly beautiful settings, convey the contrast between timeless Māori culture and what is seen as modern. Castle-Hughes clearly portrays Pai's perceptiveness and quiet persistence, but when she finally speaks from her heart, standing on stage in a school production, wearing traditional garb, she's luminous. It's no wonder that Castle-Hughes was nominated for the Best Actress Oscar at age 13. Whale Rider is a lyrical, genuine must-see for families of tweens and up.

Talk to Your Kids About ...

Families can talk about the traditions portrayed in Whale Rider and the traditions of their own cultures. Which ones do you think are important to pass down? Which do you think needs to evolve and be adjusted to the times?

How does Pai show integrity , perseverance , and courage ? How does she show teamwork and compassion even when she's not originally accepted in the team?

Have you ever been told you weren't able to do something because of your gender or age? How did you handle the issue?

Movie Details

• In theaters : June 6, 2003
• On DVD or streaming : October 28, 2003
• Cast : Keisha Castle-Hughes , Rawiri Paratene , Vicky Haughton
• Director : Niki Caro
• Inclusion Information : Female directors, Indigenous actors, Polynesian/Pacific Islander actors
• Studio : Newmarket Film Group
• Genre : Drama
• Character Strengths : Compassion , Courage , Integrity , Perseverance , Teamwork
• Run time : 105 minutes
• MPAA rating : PG-13
• MPAA explanation : brief language and a momentary drug reference
• Last updated : January 23, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Whale Rider Reviews

A fairly standard coming of age tale that features a solid performance from Castle-Hughes. Despite being a nearly 1-to-1 adaptation, however, the film is missing the spirit (and spiritualism) of the source material.

Full Review | Mar 12, 2024

Keisha Castle-Hughes deservedly earned a Best Actress Academy Award nomination for her startling film debut.

Full Review | Original Score: 3/4 | Oct 30, 2021

Poignant and powerful, this unique family film is simply unforgettable.

Full Review | Oct 5, 2021

[A] heartfelt drama about gender, culture and generational clashes.

Full Review | Original Score: 3/4 | Sep 10, 2020

I get a pleasant surprise observing its tale of inclusion, ancestral traditions and family wounds. [Full review in Spanish]

Full Review | Original Score: 7/10 | Aug 8, 2020

It's refreshing to see a film so intent on showing the love and sorrow that comes from interaction between family members. I also enjoyed seeing a film that opened up a world with distinctly different cultures and beliefs.

Full Review | Original Score: B+ | Nov 16, 2019

Filmmaker-writer Caro orchestrates scenes with a lyrical touch, infusing the film with doses of humor, and an effortless, mythic quality consistent with its source material, the eponymous cultural novel by Maori author Witi Ihimaera.

Full Review | Apr 30, 2019

[Lisa] Gerrard's ethereal vocal style combined with electronic flourishes make for an unusual soundtrack, but one that meshes with the film's bracing mixture of mysticism and realism set against the strange and beautiful New Zealand landscape.

Full Review | Mar 12, 2019

Whale Rider will endure as a modern masterwork because its themes are as universal as the story is localized.

Full Review | Original Score: 4/5 | Oct 31, 2018

Castle-Hughes' performance is so amazing and she plays off of the veteran Maori actors so well it's hard to believe she was plucked from her classroom when a film crew came by looking for a non-actor....

Full Review | Original Score: A- | Jan 16, 2018

both an effective snapshot of the challenges which modernity brings to indigenous cultures, and a neat illustration of the power of myths to adapt.

Full Review | Jun 11, 2013

Excellent to watch and discuss as a family.

Full Review | Original Score: 4/5 | Dec 29, 2010

This is what a children's film should be like.

Full Review | Apr 29, 2009

The movie's story is a sometimes clumsy but gradually involving coming-of-age story about courage, sexism, past customs vs. contemporary social values and a community and family at odds within themselves.

Full Review | Original Score: 3/5 | Aug 7, 2008

Newcomer Castle-Hughes' unaffected, confident turn makes it credible our heroine might retain her determination and self-worth despite serial setbacks.

Full Review | Jul 22, 2008

The third act -- where all our predictions come true -- has a quiet dignity and, although it moves from A to B as expected, how it gets there is surprisingly mysterious.

Full Review | Jun 3, 2008

Full Review | Original Score: 4/5 | Dec 7, 2007

The filmmaker knows how to seduce an audience without making it feel had. When a movie's this likable, it would take a very tough crowd not to be pleased.

Full Review | Nov 1, 2007

Niki Caro roots her characters in a landscape equal parts mundane and boundless, incorporates tantalising sea photography and Lisa's Gerrard's ambient soundtrack, and lifts off into a sublime, Elysian ending.

Full Review | Jan 26, 2006

"Whale Rider" is a mystical, gentle movie that goes beyond the boundaries of the usual coming-of-age film.

Full Review | Original Score: 3.5/4 | Jun 3, 2005

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FILM REVIEW

FILM REVIEW; A Girl Born To Lead, Fighting The Odds

By Elvis Mitchell

• June 6, 2003

The stoic mysticism of Niki Caro's cool-handed charmer ''Whale Rider'' -- in which the young Pai must overcome resistance as she tries to assume her destiny as the leader of a tribe on the New Zealand coast -- is wickedly absorbing. Much of the film's power comes from the delicate charisma of Keisha Castle-Hughes, making her acting debut as Pai.

Ms. Castle-Hughes lacks the traditional resources of an actress, and instead communicates her feelings through a wary hesitation. It doesn't matter that her voice makes her sound a little lost, still trying to find her way into a world that disdains her. Her intelligent, dark eyes are so expressive that she has the piquant confidence of a silent-film heroine.

Her instinctive underplaying gives ''Whale Rider'' an added gravity, with the lush remoteness of the landscape serving as an entrancing contrast to the sugar-rush, you-go-girl empowerment of programmed pandering like ''The Lizzie McGuire Movie,'' whose tweener heroine flails her arms and bats her eyes as if she were sending distress signals. The director demonstrates a class and tact that brand ''Whale Rider,'' which opens today in New York and Los Angeles, as more than a time-filler for young moviegoers or an ironman competition for adults accompanying them.

Pai's natural rectitude -- the way she plays both pride and hurt -- is even used by Ms. Caro as a hereditary trait. Pai's prickly grandfather Koro (Rawiri Paratene) displays a contempt for her that is like a deadpan force of nature itself. Koro, the tribal chief, wanted a grandson to take on his mantle. But Pai's twin brother died in a difficult birth, which also took her mother's life, and her father, Porourangi (Cliff Curtis), has deserted the family for a career as an artist. Koro treats his granddaughter as the living embodiment of a curse. When he bothers to pay attention to her at all, it's through a sharp cutting of his eyes in her direction.

Tradition dictates that the first-born grandson step into the role of chief, but Pai -- named Paikea by her father, after the tribe's ancient ancestor, who legend says arrived in the village on the back of a whale -- is all the family has.

Her patient grandmother Nanny Flowers (Vicky Haughton) encourages Pai to give things time; Nanny Flowers also refuses to crumple under the galling chauvinism of her husband. But Pai has endured the suffering for all of her 12 years. And though she has a plucky physical assurance -- the firm hand of her grandmother has helped keep her demeanor strong -- she still wants the nurturing she feels is her due.

Ms. Caro treats the material with the calm of a silent film and exploits the extravagant beauty of the location for its majesty. Each shot of the vistas in the breathtakingly lovely village is presented with an even clarity; Ms. Caro and her cinematographer, Leon Narbey, let the audience be seduced by the daunting power, rather than overwhelming viewers with it.

With a deft hand, the director bridges the disconnect between the modern touches in the village -- like the hilarious, cranky chatter over card games -- and the determination to cling to traditions. It is evident that tradition is the way the Whangara tribe maintains its spirituality, which defines it.

The critical moment comes in a set piece that has the potential to send the film off into florid, find-your-bliss sentimentality: a whale cruises too close to the shoreline and needs to be steered back into deeper, life-sustaining waters. Ms. Caro refuses to oversaturate the film with anxious hyperdramatics. It is a moment in which she must show that she trusts her young star, a faith that pays off with a disarmingly touching climax.

But you will have surrendered to ''Whale Rider'' long before then. The film shows strength by tightening the rhythms of the scenes; be warned that the longueurs that surface in the first 10 minutes or so may make demands on your patience. Ms. Caro and her editor, David Coulson, obviously wanted to dissipate any feeling of forced pathos that might accompany the intense tragedy experienced by Pai's family. It's a welcome exercise of taste on the director's part.

Mr. Curtis's total immersion in the role of Pai's father rescues him from the typecasting of his previous work -- playing dark-skinned bad guys of indeterminate ethnicity. His excitement alone adds a charge to the picture.

Ms. Caro's attempt to fight the mawkishness inherent in the film's opening by setting a tone of emotional tidiness makes the rest of ''Whale Rider'' distinctively efficient; this gamble makes the first section seem distended and a little drab. Still, there aren't many filmmakers who would have fought that initial heightening of heartbreak. Too flamboyant an opening would have left the movie with no place to go and embarrassed us with so early a claim on our sentiments. Bear with ''Whale Rider'': once the picture kicks into gear, it has the inspiring resonance of found art.

''Whale Rider'' is rated PG-13 (Parents strongly cautioned) for scenes of emotional cruelty that may be a little upsetting for younger viewers.

WHALE RIDER

Directed by Niki Caro; written by Ms. Caro, based on the novel by Witi Ihimaera; director of photography, Leon Narbey; edited by David Coulson; music by Lisa Gerrard; production designer, Grant Major; produced by Tim Sanders, John Barnett and Frank Hubner; released by Newmarket Films. Running time: 105 minutes. This film is rated PG-13.

WITH: Keisha Castle-Hughes (Pai), Rawiri Paratene (Koro), Vicky Haughton (Nanny Flowers) and Cliff Curtis (Porourangi).

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Eye For Film >> Movies >> Whale Rider (2002) Film Review

Whale rider.

Reviewed by: Jennie Kermode

When encountering critical acclaim for a film like this, one always worries that part of it is due to the work being perceived as a worthy cause - not that it's a bad thing to take an interest in minority cultures and traditions, but a good film needs to be able to stand on its own merits. Whale Rider is such a film, and those who go to see it will not be disappointed. Its central coming of age and ostracisation themes extend beyond the personal to reflect issues in Maori society and its relation to the rest of the world. Its studies of character, meanwhile, would be as relevant in any context.

At the centre of this tale is is Paikea (brilliant newcomer Keisha Castle-Hughes) whose very birth was a cause for sorrow, as it coincided with the death of her mother and twin brother. Though she maintains a good relationship with her absent father, she is raised by her grandparents, and it is her grandfather, strong and taciturn and lonely, whom she admires most of all. He, however, wants a boy who can become a new leader for their tribe, and Paikea struggles to understand when her attempts to learn the masculine behaviours he seems to want only cause him to reject her.

Alongside this, we see the difficulties in his relationship with his sons, and it's clear that the strength of affection he has developed for his granddaughter itself makes it harder for him to bear the risks associated with letting her take on a male role. Rawiri Paratene gives a powerful performance as the old man whose life has been dominated by duty, and there's impressive support from the rest of the cast.

Many characters suffer rejection and broken homes, yet the film never sentimentalises this; it maintains the sense of determination, hope and expectation summed up in Paikea. Dazzled by mythology, the girl aspires to be a prophet, yet it is her perseverance in more mundane matters which inspires those around her.

Whale Rider is a film which grips right from the start and never lets go. Though it features some stunning landscape photography and evocative Maori design work, it is the domestic interiors which create the strongest visual impression, courtesy of Heavenly Creatures' production designer Grant Major. This helps the film to develop a sense of place vital to our understanding of its characters' commitment to their heritage. Deftly avoiding cliches, it interweaves traditional and modern elements so smoothly that one scarcely notices the contrast; it is apparent only in the faces of boys who find it difficult to take their traditional responsibilities seriously.

Although the story is often harrowing, it is lightened by humour and a constant awareness of natural beauty. A brave film to present to a modern audience, Whale Rider is something special.

Read more Whale Rider reviews:

Director: Niki Caro

Writer: Niki Caro, based on the novel by Witi Ihimaera

Starring: Keisha Castle-Hughes, Rawiri Paratene, Vicky Haughton, Cliff Curtis, Rawinia Clarke, Tammy Davis, Grant Roa

Runtime: 105 minutes

Country: New Zealand/Germany

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Whale Rider

Content caution.

In Theaters

• Keisha Castle-Hughes as Pai; Rawiri Paratene as Koro; Vicky Haughton as Nanny Flowers; Cliff Curtis as Porourangi

Home Release Date

Distributor.

• Columbia Pictures

Movie Review

“There was no gladness when I was born. …”

A newborn’s cry is normally a moment of utmost joy. But it wasn’t so when Pai was brought into the world. Her entrance was simultaneous with the death of her mother and twin brother. And in one fell swoop, the line of chieftains descended from Paikea was shattered. (Paikea was the man who founded the Maori race by riding a whale across the ocean to what is now New Zealand.)

Pai’s grandfather, Koro, is devastated. His heartbroken son, Porourangi, a direct descendant of Paikea, has left his land, haunted by memories of his wife and son. And without any more pure (male) Maori offspring, there’s no chance for their race to continue. So, every time Koro sees Pai—boisterous, intelligent, loving, lonely and abandoned Pai—he sees the end of his people. Because though Pai is directly descended from Paikea, she is a girl and Koro knows that a woman could never be the leader of the Maori people. …

Positive Elements

The need for gracious love in family relationships is emphasized by the lack of it in Pai’s life. Koro is relentlessly harsh toward her, indirectly blaming her for the fracture in the Maori lineage. Not that he hates Pai; far from it. He sticks up for her when her schoolmates tease her and regularly pedals her across the lush New Zealand countryside on his bike. But a desperate disappointment lurks at the core of their interactions. While Koro provides for his granddaughter’s basic needs, he has emotionally abandoned her. Furthermore, his pursuit of a new heir to Paikea nearly destroys his household. His obsession causes his wife to consider divorce and Pai’s spirit falters under the old man’s continual disapproval (she sobs uncontrollably after Koro doesn’t show up for a school performance). When his search for an heir fails, he retreats into his bedroom and silently wastes his days on his bed. The application is clear: Personal ambition must not trump the preservation of one’s family.

Spiritual Elements

Traditional Maori spiritualism frames most of the movie’s religious content. There is much bantering about legends and chanting of tribal hymns (of which most American viewers won’t be able to understand a single word). Koro opens a school for young boys in order to instruct them in the Maori ways, hoping to find someone to continue the line of chiefs. At one point, he informs his charges that ancestral spirits are watching them. Porourangi tells Pai that Koro is looking for a prophet, a person to lead his people out of darkness. During a moment of desperation, Koro prays to the “ancient ones,” but they don’t hear him. When Pai raises her petition, however, they respond, sending a wave of whales to beach themselves on the shoreline as a test. Awaiting a person’s diagnosis at a hospital, a woman says that she has been “praying to God.” [ Spoiler Warning ] When Pai is recognized as the rightful chief, her mere acknowledgement mystically “renews” the Maori, bringing vigor to the ceremonies and restoration to their families.

Sexual Content

Porourangi tells his family that he has impregnated a German woman out of wedlock. Koro crudely informs young male recruits that their genitals will fall off if they don’t perform a ceremony correctly and urges them to grasp their crotches to avoid the aforementioned fate. A female character wears a tight tube top. The camera glimpses Pai’s bare back as she bathes.

Violent Content

An early scene shows the face of Pai’s mother contorted in agony during labor (other shots feature Porourangi weeping over the body of his wife). Porourangi shoves Koro when he urges him to “start over” immediately after his wife’s death. Koro lightly socks a boy in the head as he teases Pai. Koro teaches his students how to fight with staves and duels with one of the youngsters. Angry at Pai, Koro violently strikes the dinner table, breaking a dish. Pai and a boy fight with staffs. A whale stranded on a beach perishes. There are a few tense moments when it’s thought that a person has drowned.

Crude or Profane Language

One use of the s-word and one use of “d–n.” About eight other crudities crop up, three of which are slang terms for male sex organs.

Drug and Alcohol Content

When Pai catches her grandmother, Nanny Flowers, and her card-playing friends smoking, she chastises them, saying that they’ve “got to protect [their] child-bearing properties.” When Pai leaves the room, one of the women jests, “You’d have to be smoking in a pretty funny place to wreck the child-bearing properties.” Pai also chastises one of her young friends for lighting up. Pai’s uncle naps with a pot pipe and a large bag of weed on his lap. His friends regularly drink beer. Thugs cruising in a car smoke.

Other Negative Elements

During a school performance a prankster loudly breaks wind while onstage.

“ Whale Rider is essentially about leadership and the fact that leadership presents itself in the form of a young girl,” states its director, Niki Caro. Such feminist sentiments certainly inhabit the movie, but they’re not forceful by any means. Pai’s claim to the position of Maori chief has less to do with female empowerment than being recognized for who she is by her grandfather—and be subsequently loved. Still, care should be taken to compare and contrast the way the movie handles the role of women with that established in Scripture.

That said, Whale Rider has next to no plot. Its fixation on myths indigenous to New Zealand lends a bizarre, ethereal otherworldliness. And its characters speak in Maori almost as much as they do in English. With such a unique (read: nearly DOA, commercially speaking) premise, why is the slow, sleepy Whale Rider lauded by critics and audiences alike? Some of that praise is doubtlessly due to the noteworthy performance of newcomer Keisha Castle-Hughes. It’s compelling to watch her (as Pai) bear the oddly interconnected burdens of being simultaneously spurned by her relatives and fiercely embraced in love. Perhaps it’s so absorbing because we understand being unable to love those we ought as we ought; we curse and yet our bent hearts still care. It stokes our empathy not only for those around us, but for the whole of broken humanity as well.

Whale Rider deserves a little less praise, though, for its legitimization of ancestor worship. It might be tempting to brush aside the religious elements as mere cultural homage. But they’re more than that. Pai and Koro’s piety for “the ancients” and their predecessor, Paikea, brings about real, lasting change in their community—mysterious, mystical and definitely unorthodox change.

Loren Eaton

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Whale Rider Review

11 Jul 2003

101 minutes

Whale Rider

The New Zealand Tourist Board must have been thrilled with this lovely looking culture-fest, jam-packed as it is with stunning coastal views, glorious sunshine and rare insights into Maori culture.

It sensitively (but occasionally ploddingly) explores the relationship between set-in-his-ways Koro and his eager-to-please granddaughter, whose adoration for him is harshly countered by his bitter disappointment with her.

As she's a girl, Pai (expertly played by unknown Castle-Hughes) can't lead the tribe, so Koro's obsession with tradition sees him force a local crew of unsuitable lads into classes in the 'old ways.'

As he trains them in the art of being a warrior, Koro hopes that the new chief he so desires will reveal himself. But only Pai has the skills he's looking for.

Way more than just a Maori history class, the over-riding feeling here is one of great enjoyment.

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What it's about.

The story that Whale Rider tells is a familiar one: that of a young girl challenging the expectations of a patriarchal community in order to claim her rightful place in a position of authority. But this isn't a superficial girl-power movie; writer/director Niki Caro maintains the utmost reverence for this Māori community, even if its customs might not appear fair to an outsider's point of view. It's a film full of realistically flawed people, whose struggles are all borne from a common love for their culture in their little corner of the world. What could have been generic and simplistic is made beautiful—especially thanks to a truly moving performance from Keisha Castle-Hughes, who at the time became the youngest nominee for the Best Actress Oscar.

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Whale Rider

• A contemporary story of love, rejection and triumph as a young Maori girl fights to fulfill a destiny her grandfather refuses to recognize.
• On the east coast of New Zealand, the Whangara people believe their presence there dates back a thousand years or more to a single ancestor, Paikea, who escaped death when his canoe capsized by riding to shore on the back of a whale. From then on, Whangara chiefs, always the first-born, always male, have been considered Paikea's direct descendants. Pai, an 11-year-old girl in a patriarchal New Zealand tribe, believes she is destined to be the new chief. But her grandfather Koro is bound by tradition to pick a male leader. Pai loves Koro more than anyone in the world, but she must fight him and a thousand years of tradition to fulfill her destiny. — berkeley
• The film's plot follows the story of Paikea Apirana ("Pai")[In the book, her name is Kahu, short for Kahutia Te Rangi], a 12-year-old girl who is the only living child in the line of the tribe's chiefly succession following the death of her twin brother and mother when she was born. By tradition, the leader should be the first-born son a direct patrilineal descendant of Paikea, aka Kahutia Te Rangi in the book, the Whale Rider he who rode on top of a whale from Hawaiki. However, Pai is female and technically cannot inherit the leadership. Pai's koro, Apirana, or Old Paka as his wife Nanny Flowers calls him, the leader of the tribe, is initially angry at losing his grandson and being left with a "worthless" female. While he does later form an affectionate bond with his granddaughter, carrying her to school every day on his bicycle, he also resents her and blames her for many of the troubles facing the tribe. At one point Paikea decides to leave with her father because her grandfather is mistreating her. However she finds that she cannot bear to leave the sea as the whale seems to be calling her back, tells her father to turn the car back and returns home. Pai's father refuses to assume traditional leadership; instead he moves to Germany to pursue a career as an artist. Pai herself is interested in the leadership, learning traditional songs and dances, but is given little encouragement by her grandfather. Pai feels that she can become the leader, although there's no precedent for a woman to do so, and is determined to succeed. Koro decides to form a cultural school for the village boys, hoping to find a new leader. He teaches the boys to use a taiaha (fighting stick). This is traditionally reserved for males. However, Nanny tells Pai that her second son, Pai's uncle, had won a taiaha tournament in his youth while he was still slim, so Pai secretly learns from him. She also secretly follows Koro's lessons. One of the students, Hemi, is also sympathetic towards her, but Koro is enraged when he finds out, particularly when she wins her taiaha fight against Hemi. Koro's relationship with Pai erodes further when none of the boys succeed at the traditional task of recovering the rei puta (whale tooth) that he threw into the ocean this mission would prove one of them worthy of becoming leader. Pai, in an attempt to bridge the rift that has formed, invites Koro to be her guest of honour at a concert of Mori chants that her school is putting on. Unknown to all, she had won an inter-school speech contest with a touching dedication to Koro and the traditions of the village. However, Koro was late, and as he was walking to the school, he notices that numerous right whales are beached near Pai's home. The entire village attempts to coax and drag them back into the water, but all efforts prove unsuccessful; even a tractor doesn't help because the rope breaks. Koro sees it as a sign of his failure and despairs further. He admonishes Pai against touching the largest whale because "she has done enough damage" with her presumption. Also, the largest whale traditionally belongs to the legendary Paikea. But when Koro walks away, she climbs onto the back of the largest whale and coaxes it to re-enter the ocean. The whale leads the entire pod back into the sea; Paikea nearly drowns in the process. When she goes out to sea, Nanny Flowers shows Koro the whale tooth which Pai had previously recovered. When Pai is found and brought to the hospital, Koro declares her the leader and asks her forgiveness. The film ends with the village, including Pai's father, uncle, and grandparents, celebrating her status as leader, as the finished waka is hauled into the sea for its maiden voyage.

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• Whale Rider

This sentimental crowd-pleaser about a young Maori girl facing her tribal destiny is somewhere between whale music and world music, or maybe a cross between Free Willy and a 90-minute Benetton ad.

It's set in a remote, and beautifully photographed New Zealand coastal town where Maori elder Koro (Rawiri Paratene) is chief of a clan claiming descent from the legendary Whale Rider . When his son's wife dies in childbirth with twins, only the girl, Paikea, survives; and her traumatised father runs off to be an artist in Europe without embracing his responsibilities.

Koro brings up his granddaughter himself but inwardly resents the lack of a male descendant and gloweringly refuses to accept the obvious - that Paikea is the natural inheritor of his mantle.

There's a charmingly unaffected performance from non-professional Keisha Castle-Hughes as Paikea, and everything is earnestly and sincerely meant. But there is something very touchy-feely about the whole thing.

Koro instructs the young Maoris in their culture and history, including the warrior tribal dances which are intended to face down their "enemies" - but do they have any enemies? The Anglos who dispossessed them? They don't feature in the movie, and it's not clear exactly how seriously we are supposed to take their fiercely warlike sense of identity in the modern world, or what precisely is at stake if Koro dies without accepting Paikea as his heir.

It all looks like a piece of picturesque, risk-free ethnography for an undemanding teen/family audience.

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Movie Review: 'Whale Rider'

NPR's Pat Dowell reports on Whale Rider , the latest movie from the Maori people of New Zealand.

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Critic bob mondello also has a review of whale rider, interview: writer and director niki caro.

Whale Rider

By Peter Travers

Peter Travers

Be on the lookout for this one. There’s magic in it. Having already earned prizes at film festivals from Sundance to Toronto, Whale Rider is a crowd-pleaser in the best sense of the word: It wins you over without cheating. You look at the remarkable face of Keisha Castle-Hughes, only eleven when the film was shot, and you’re hooked. She plays Pai, a Maori girl being raised by her grandparents, Koro (Rawiri Paratene) and Nanny Flowers (Vicky Haughton), in contemporary New Zealand. Her father ran off after his wife died giving birth to Pai and her twin brother, who also died. That will leave the tribe without a leader when Koro dies, since girls are considered unfit to lead.

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Pai has other ideas. As Koro educates local boys in ancient mysticism and the martial arts, Pai trains in secret, evoking the anger of Koro, whose ancestor, legend has it, arrived in their village on the back of a whale.

Director Niki Caro, who adapted Wite Ihimaera’s novel, has made a film of female empowerment that resonates deeply. Castle-Hughes is a star in in the making. She and her movie are worth cheering for.

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Whale Rider (2002)

One young girl dared to confront the past, change the present and determine the future

Rating: 7/10

Picturesque, slow-paced, atmospheric and very well-acted – but lacking a little in spark and invention.

Running Time: 105 minutes

UK Certificate: PG

The idea of making a film about a remarkable youngster shunned by a staunchly-traditionalist parent figure really isn’t an incredibly new one. Think ‘Billy Elliot’ or ‘Bend It Like Beckham’ and you’ve already got two textbook examples from Blighty. But I must be a sucker for a nice bit of scenery, because I’ll take the lush fields and breezy beaches featured in New Zealand’s ‘Whale Rider’ over the backdrops of those two films any day.

‘Whale Rider’ is the story of Pai (Keisha Castle-Hughes), a young girl resented by grandfather Koro (Rawiri Paratene) for the heinous crime of being born a female. He longs instead for a grandson to carry on the family name, as they are the last descendants of the original Maori leader who, according to legend, went about on a whale. Under the circumstances, you’d think that Pai would jump at the chance to flit to Germany with her long-absent dad, and you’ll wonder why on Earth she doesn’t when that opportunity arises. Perhaps it’s because the place is so full of Germans – though I stress that that’s just a guess.

So, shunning his granddaughter despite her continual attempts to impress, Koro seeks out a new great chief among the first-born boys of the local neighbourhood. Meanwhile, Pai sets about upstaging each of the lads with her superior skills at stick-fighting, swimming, and pulling faces – and even goes as far as to go riding on a whale. She does it to show Gramps that she too can be great, that she too can inspire those around her, and that she too is capable of proudly carrying the family name. I’d probably have done it predominantly out of spite, but those other reasons are good too.

Just like the stubborn parent-types in those two films mentioned earlier, Koro is an infuriating character to watch and 105 minutes of his moaning can be tough on the system. But this is a strangely-engrossing film, beautiful to look at and featuring probably the best child performance of the year from Castle-Hughes. It’s probably not one that’s going to be appreciated by the kids (despite its ‘family’ tag) but, if you can, send the ankle-biters in to ‘Rugrats Go Wild’ and slip next door to watch this one.

It's Got: An incredibly saddening scene featuring beached whales.

It Needs: To inject a little more humour.

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WHALE RIDER

What You Need To Know:

(PaPaPa, Fe, PC, C, B, L, V, N, A, D, M) Syncretistic pagan worldview with some feminist and politically correct elements, redemptive metaphors in a prayer to God, and some moral/biblical elements such as family values and one reference regarding a prayer to God, which is answered miraculously; eight obscenities; some violence such as mock fighting with sticks and character rides whale but nearly drowns; no sex; upper male nudity and girl sits in bathtub, but nothing shown; brief alcohol use; smoking; and, grandfather rejects granddaughter and hands out unjust punishments, granddaughter disobeys, and father abandons daughter.

GENRE: Drama

More Detail:

WHALE RIDER is a sweet-natured drama about a young girl trying to find her place within a patriarchal Maori tribe in New Zealand. The movie contains, however, an acceptance of pagan beliefs, including ancestor worship, in its story, which also takes a syncretistic approach that provides a multicultural, feminist, politically-correct spin.

The movie opens with a modern-day crisis in a Maori tribe, the Ngati Konohi, in a small coastal village in New Zealand. The hereditary first-born male child dies at birth with its mother, but is survived by his twin sister. In defiance of the tribal patriarch, the son of the patriarch and the father of the twins, names the girl after Paikea, the tribe’s venerated ancestor whom they believe arrived in New Zealand a thousand years ago on the back of a whale after his canoe capsized. Tradition states that the name should only be given to a first-born male child, so the father’s actions anger the grandfather, Koro, the current chief of the tribe. The fiercely traditional grandfather immediately shortens the girl’s name to “Pai” (pronounced Pie).

Pai’s grieving father leaves her in the care of Koro and his mother, Nanny, while he seeks a different destiny abroad. Twelve years later, Pai senses that her grandfather, Koro, cares about her, though Koro’s caring is distanced by his grief and disappointment that there is no male family heir to become chief. Pai is strengthened by the unconditional love of her wise grandmother. She is determined to change Koro’s anger and regret. This becomes nearly impossible when Pai secretly tries to learn the male traditions while Koro trains the first-born boys of the village, hoping to find a worthy successor to his reign as chief. When Koro finds out about Pai’s indiscretion, it puts even further strain on their relationship. Only a miracle can heal the situation and help Pai fulfill her destiny.

Keisha Castle-Hughes and Rawiri Paratene do a superb job of delineating the characters of Pai and her stubborn grandfather, Koro, respectively, and their troubled relationship. Vicky Houghton also does a marvelous job as the grandmother, who tries to mediate between her husband and her granddaughter. The writing and direction by Niki Coro, who’s of European descent, is sometimes a bit on the slow side, however.

The focus of WHALE RIDER is, of course, on Pai’s relationship with her stubborn grandfather, Koro. Pai’s very existence challenges Koro’s masculine understanding of the way things are supposed to be. Pai is not coming from a radical feminist point of view, however. She just wants to fulfill her destiny as part of the pagan traditions of her people. Thus, the primary goal of WHALE RIDER is not to use left-wing radical politics to completely attack and transform the traditions of a particular society, but to bend those traditions to accommodate a few modern sensibilities.

The movie implies, however, that the ancestors, the mystical whales, or a divine being has chosen Pai to carry on the tribe’s traditions. Thus, the end result is to affirm false pagan ideas, even though a minor character says at an important point near the end that she will pray to God for a positive miracle to occur, and the miracle actually seems to occur. Thus, Pai has a mystical relationship with the whales swimming off the shore. Her relationship with the whales plays an important role in the resolution of the conflict with her grandfather.

Still, WHALE RIDER provides a unique look into a society that only a few people know anything about. That, and the positive pro-family themes in the movie, may also furnish some insights for Christians who have a heart for leading the Maori and other tribes of Polynesian descent to Jesus Christ, who is the Way, the Truth and the Life (John 14: 17).

Please address your comments to:

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Newmarket Films

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Phone: (212) 303-1700

Fax: (212) 421-1163

Website: www.newmarketfilms.com

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Whale Rider Parent Guide

Moving at the gentle pace of a calm ocean tide, this beautiful film explores the importance of family, the qualities of leadership and the anchor of cultural traditions..

Despite the hardships and disappointments in her life, one young Maori girl becomes a pivotal force in changing the traditions and mindsets of her struggling tribe.

Release date August 29, 2001

Run Time: 100 minutes

Official Movie Site

Get Content Details

The guide to our grades, parent movie review by kerry bennett.

Legend holds that centuries ago, Paikea the Whale Rider, traveled on the back of a whale to the remote New Zealand coastline. There on the rocky shore, he became the first to inhabit the land where his descendents now live. His people have honored him ever since by choosing the first-born male offspring of his blood line to lead their little tribe.

For Chief Koro (Rawiri Paratene), the anticipated arrival of his daughter-in-law’s twins ensures the tribal legacy will live on—a man-child to lead the Maori clan. But tragedy strikes when mother and son die in childbirth leaving only a surviving infant daughter. Koro’s own son, Porourangi (Cliff Curtis), next in line to serve as chief, abdicates his role and flees from the village shattered by the loss of his wife and baby. In his anguish, he forsakes Pai (Keisha Castle-Hughes), to be raised by her grandparents.

Only Nanny Flowers (Vicky Haughton) recognizes the character strength and leadership traits that are budding in the young, abandoned girl. Under the grandmother’s tender care, Pai finds some relief from the grave disappointment she senses in her grandfather as she tries to earn his affection.

Determined to find a successor, Koro gathers the local boys for training in the ancient ways. Relegated to watching on the sidelines, Pai is finally given a chance to prove herself when a pod of whales beach themselves on the sand below the town.

Moving at the gentle pace of a calm ocean tide (for some, that equals slow), Whale Rider looks at the traditions and expectations that guide the lives of Koro and his people and the conflict that surges to the surface when those mores are challenged. Contrasting the cultural past with modern lifestyles, it also explores the qualities of a leader that are inherent regardless of gender or privilege.

Relative to other PG-13 offerings, the film’s content issues are few, but do include some brief strong language, a short reference to drug use, drinking among the locals and some adult and pre-teen smoking. Parents should also note a scene involving childbirth.

Filmed in New Zealand, the movie offers scenic vistas and an introduction to the amazing talents of first-time actress Keisha Castle-Hughes. More importantly, it provides hope that every generation will come with resilient individuals ready and capable of assuming their role as leaders among their peers.

About author

Kerry Bennett

Whale rider rating & content info.

Why is Whale Rider rated PG-13? Whale Rider is rated PG-13 by the MPAA for brief language and a momentary drug reference

Violence: B Father and son argue. Boy hits man with a stick. Man yells at children.

Sexual Content: B Woman is pregnant outside of marriage. Threats are made about male body part falling off. Girl’s bare back is shown in bathtub.

Language: C Contains at least 6 moderate and 2 mild profanities.

Alcohol / Drug Use: C- Adults pre-teen are shown smoking. Women hide signs of their smoking. Adults drink on several occasions. Adults try to cover evidence of illegal drug use.

Miscellaneous Concerns: Mother and baby die during childbirth. Adult treats child harshly and with contempt on several occasions. Character suffers from depression.

Page last updated August 22, 2017

Whale Rider Parents' Guide

The role of chief comes with privileges and many obligations. Why did Porourangi hesitate to take on the responsibility of leading the people? Did Pai believe in her abilities despite the treatment she received from others? Is leadership inherent or hereditary?

Small communities are sometimes plagued with a lack of opportunities and jobs for residents. What issues did the people in Koro’s village face? How did Porourangi find career success? Are there ways for floundering populations to develop options for their own people?

What expectations or traditions are important to your family? Are there skills or customs you have learned from your parents or grandparents? Will you pass them on to the next generation?

The most recent home video release of Whale Rider movie is August 22, 2017. Here are some details…

Home Video Notes: Whale Rider release to home video in a 15th Anniversay Edition (Blu-ray/Digital Copy). Bonus features include: - Audio commentary with director Niki Caro - “Te Waka: Building The Canoe” Featurette - “Behind-The-Scenes of Whale Rider” featurette - Deleted Scenes with optional commentary - Poster art and photo gallery

Related home video titles:

Following the death of her mother, 10-year-old Amy is sent from New Zealand to live with her father in Canada where she becomes mother to a gaggle of goslings that she must teach in Fly Away Home . Orphaned at a young age, Anne is adopted by a bachelor and his sister who are looking for a boy to help with the farm chores. Instead the siblings end up with a highly imaginative redhead who gets into all kinds of predicaments in Anne of Green Gables .

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