WHALE RIDER (2002)
PART ONE: FILM INFORMATION
Director: Niki Caro
Director and writer, Niki Caro was born in Wellington New Zealand, the country that
would later become the setting of her first major motion picture Whale Rider. Most
recently she has directed North Country, staring Charlize Theron. In 2005 she was
named one of the “100 People in Hollywood You Need to Know,” by Fade In
Magazine.1
Screenplay: Niki Caro (novel by Witi Ihimaera)
Cinematographer: Leon Narby
Producer: John Barnett
Production Company: Presented by; South Pacific Pictures, Apollo Media, and
Pandora Film
Cast:
Keisha Castle-Hughes – Paikea
Rawire Paratene – Koro
Vicky Haughton – Nanny Flowers
Cliff Curtis – Porourangi
Grant Roa – Uncle Rawire
Mana Taumaunu – Hemi
Rachel House – Shilo
Taungaroa Emile – Willie
Tammy Davis – Dog
Mabel Wharekawa – Maka
Rawinia Clarke – Miro
Tahei Simpson – Miss Parata
Roi Taimana – Hemi’s Dad
Elizabeth Skeen – Rehua
Tyronne White – Jake
Release Dates2:
Canada (Toronto Film Festival): 9 September 2002
New Zealand: 30 January 2003
Australia: 8 May 2003
USA (limited): 6 June 2003
USA: 4 July 2003
1
2
www.imdb.com. Niki Caro.
www.imdb.com. Release Dates.
UK: 11 July 2003
BUDGET AND BOX OFFICE FIGURES
Box Office Open: $137,4183
Box Office Total: $20,661,1284
Budget: NZD $6,000,0005
BIBLIOGRAPHY OF INTERVIEWS
The Making of ‘Whale Rider’ (TV). Directed by Jonathan Brough. Interviews with
entire cast and director. 6
AWARDS
Nominated:7
 Academy Award, Best Actress in a Leading Role (Keisha Castle-Hughes) – 2004
 Australian Film Institute, Best Foreign Film Award – 2003
 British Independent Film Award, Best Foreign Film – 2003
 Broadcast Film Critics Association Awards, Best Family Film (Live Action) –
2004
 Chicago Film Critics Association Awards, Best Actress (Keisha Castle-Hughes) –
2004
 Chlortrudis Award, Best Actress (Keisha Castle-Hughes) and Best Screenplay –
Adapted (Niki Caro) - 2004
 Film Critics Circle of Australia Award, Best Foreign Film (English Language) –
2003
 Golden Trailer Awards, Best Voice Over – 2004
 Image Award, Outstanding Actress in a Motion Picture (Keisha Castle-Hughes)
and Outstanding Motion Picture – 2004
 Motion Picture Sound Editors (Golden Reel Award), Best Sound Editing in
Foreign Features – 2004
 New Zealand Film and TV Awards, Best Actor (Rawiri Paratene), Best
Cinematography, Best Design, Best Editing, Best Makeup, Best Supporting Actor
(Grant Roa) – 2003
http://www.rottentomatoes.com/m/whale_rider/numbers.php. Whale Rider (2003). “Box Office
Summary”
4
Ibid.
5
http://www.answers.com/topic/whale-rider. Answers.com
6
www.imdb.com. 2003. The Making of ‘Whale Rider.’
7
www.imdb.com. Whale Rider Awards.
3





Online Film Critics Society Awards, Best Breakthrough Filmmaker (Niki Caro) –
2004
San Sebastian International Film Festival, Golden Seashell Award – 2002
Satellite Award, Best Art Direction, Best Director, Best Motion Picture (Drama),
Best Adapted Screenplay – 2004
Screen Actors Guild Awards, Outstanding Performance by a Female Actor in a
Supporting Role (Keisha Castle-Hughes) – 2004
Teen Choice Award, Choice Breakout Movie Star (Keisha Castle-Hughes) – 2004

Won8


















BAFTA Childrens’ Award, Best Feature Film – 2003
Broadcast Film Critics Association Award, Best Young Actor/Actress (Keisha
Castle-Hughes) - 2004
Chicago Film Critics Association Award, Most Promising Performer (Keisha
Castle-Hughes) – 2004
Chicago International Children’s Film Festival (Children’s Jury Award), LiveAction Feature Film or Video – 2003
Cinemanila International Film Festival, Special Jury Prize – 2003
Environmental Media Awards, Feature Film – 2003
Humanitas Prize, Sundance Film Category – 2003
Independent Spirit Award, Best Foreign Film (New Zealand) – 2004
Mexico City International Contemporary Film Festival, Best Humanitarian
Content – 2004
New Zealand Film and TV Awards, Best Actress (Keisha Castle-Hughes), Best
Costume Design, Best Dirctor, Best Film, Best Juvenile Performer (Mana
Taumanunu), Best Original Music, Best Screenplay, Best Supporting Actor (Cliff
Curtis), and Best Supporting Actress (Vicky Haughton) – 2003
Online Film Critics Society Award, Best Breakthrough Performance (Keisha
Castle-Hughes) – 2004
Rotterdam International Film Festival, Audience Award – 2003
San Francisco International Film Festival (Audience Award), Best Narrative
Feature – 2003
Seattle International Film Festival (Golden Space Needle Award), Best Director
and Best Film – 2003
Sundance Film Festival (Audience Award), World Cinema – 2003
Sao Paulo International Film Festival, International Jury Award – 2003
Toronto International Film Festival, People’s Choice Award – 2002
Young Artist Award, Best International Feature Film, Best young Actress in an
International Film (Keisha Castle-Hughes) – 2004
BIBLIOGRAPHY OF REVIEWS IN NEWSPAPERS, CRITICAL ESSAYS IN JOURNALS,
DISCUSSIONS IN BOOKS
8
Ibid.
Sampling of Reviews, for more critic reviews go to (http://www.rottentomatoes.com/m/whale_rider/)
“The film boasts a terrific newcomer in the lead role, exquisite widescreen photography
and a powerful sense of place.” – Sheri Linden, The Hollywood Reporter.com
“The first 2/3rds are artfully, soulfully crafted with heart, family, tradition and real
humor.” - Ross Anthony, Hollywood Report Card
“Stripped of its exotic cultural context and New Zealand setting, it wouldn’t differ much
from an inspirational TV movie…” – John Beifuss, Commercial Appeal (Memphis, TN)
“Has the feel of a great and rare children’s movie.” Jeffery M. Anderson, Combustible
Celluloid
“For a better look at the sexism behind ancestral traditions, try Iranian filmmaker Jafar
Panahi’s masterpieces The Circle. But this easier-to-take film has an intoxication all its
own.” -Kevin John Bozelka, Milwaukee Journal Sentinel
“Pai’s unflagging spirit in the face of staggering personal hardship (and infuriating
chauvinism) resonates with eloquent inspiration.” -Jeanne Aufmuth, Palo Alto Weekly
“The film is a closer to a feminist tract. And, like all propaganda, it wants to do all of
your thinking for you.” – Jay Boyar, Orlando Sentinel
“Messages aside, time with this little girl and her brethren is well spent.” –Jules Brenner,
Filmcritic.com
“Caro strive to poeticize the native sea legends (the lovely underwater whale footage is,
alas, all digital), but the aboriginal hoopla comes off as tribal ritual for its own sake.”
- Michael Atkinson, Village Voice
“Pai is resourceful and in harmony with the natural world in a way that will charm and
enthrall young viewers.” - Jami Bernard, New York Daily News
Sampling of Scholarly Journals for more information go to
(http://web1.epnet.com.proxyau.wrlc.org/resultlist.asp?)
Beck, Bernard. 2004 “The Sea Around Us: Social Climbing in Seabiscuit, Whale Rider,
and Finding Nemo.” Multicultural Perspectives. Vol 6, Issue 2; p24-27.
Damer, Sean. 2006. “Inside The Whale: A Closer Look at ‘Whale Rider’.” Screen
Education. Issue 41; p74-78.
Frances, Helen. 2004. “Mythic Movie.” Cineaste. Vol 29, Issue 2; p50-51.
Freydkin, Donna. 2005. “What are you Watching?” USA Today; Nov. 28.
Gould, Rozanne. 2004. “Whale Rider: A Film.” Tribal College. Vol 16: Issue 2; p4445.
Klawans, Stuart. 2004. “Keisha Castle-Hughes.” New York Times. Vol 153, Issue
52760; p11-11, 15 Feb.
Krauth, Shan. 2004. “Whale Rider’ Study Guide.” Screen Education. Issue 36; p60-64.
FILMS ON-LINE PRESENCE IN THE WEB LITERATURE
Given the films cultural substance, there is actually a lot of information regarding the
aboriginal themes present in the film. Whale Rider was also an Academy Award
nominee in addition to winning numerous film festival awards. Due to the films release
date in late 2002, early 2003 much of the information is found within on-line databases
rather than in print form; however, there were several critical reviews in newspapers and
magazines around the world.
PART II: CRITICAL REVIEW OF FILM AND LITERATURE
Whale Rider follows the cultural and emotional journey of a young Maori girl as
she struggles to gain the approval of her grandfather and her people. As legend tells, the
Maori, the aboriginal peoples of New Zealand, came to the land on the back of a whale
led by Paikea. The first born male of the chief is to carry on the traditions of Paikea, the
whale rider, but the first born male does not survive childbirth. Before she dies, the
mother of twins whispers Paikea.9
From the beginning, Paikea (Pai) is a young girl caught in a man’s world.
Though she is loved by her grandfather (Koro), the chief, she is not accepted. Yet the
movies symbolism from the beginning foreshadows her future as a leader.10 A close up
of the crying babies hazel green eye mirrors the close of up of a whales eye. The focus of
the eye humanizes the whale and connects the young girl to the animal.
As Pai grows older, her defiant nature becomes apparent. She convinces her
uncle to teach her Taiaha fighting, a traditional stick fighting method used by the Maori
men. She becomes quite proficient and is able to take out Hemi, a young boy, during a
9
Whale Rider. 2003. Director Niki Caro.
Ibid.
10
fight. This still does not prove to her grandfather that she is good enough to take her
place a leader of the people.11
Koro had placed a peoples hope on Pai’s twin brother, but with him dead, there
was no one. Koro attempts to find a new leader by teaching the young village boys the
old ways in hope that a leader will emerge out of this crowd, but he is continually
reminded that Pai, a female, is indeed the one chosen to lead the people. It is she that has
mastered Taiaha, and it she that retrieves the whale tooth from the ocean.12
As the climax approaches, Koro finds their ancestral animal beached along the
shores of their land. He blames Pai for medaling with the gender roles of their society.
Yet after Koro and the people give up their attempts to push the great whales back into
the ocean, Pai sits upon the back of, “Paikea’s whale” and encourages it back into the
ocean carrying her into the water with the rest of the pod. As she vanishes further into
the ocean, her grandfather finally realizes that she was indeed chosen to lead the people,
she truly was Paikea, the whale riders, kin.13
Though the film is from New Zealand, there are still many Australian elements.
The concept of mateship is still prevalent. The film also shows the connection between
the land and the native people, which is evident through the cinematography. However,
the film also conveys the negative aspects of the Maori culture in the form of alcoholism,
similar to the alcohol problems experienced by Australia’s native aborigines.
Like Rabbit Proof Fence, Whale Rider focuses on the role of the female and the
native culture. In Rabbit Proof Fence, three young girls journey through the outback
using the old ways of their people to return home to their mothers14. Whale Rider,
similarly focuses on a young native girl destined to lead her people. Though possibly
coincidence, both films point to the fact that the future of the aboriginal peoples in both
New Zealand and Australia rest on the back of the female gender. They have not been
corrupted by drugs and alcohol as much as men and they are generally more proud to
retain their native heritage.
11
Whale Rider
Ibid
13
Ibid
14
Rabbit-Proof Fence. 2002. Director Phillip Noyce.
12
Whale Rider, though labeled a drama and often considered a family film, is seen
by many critics as a feminist movie.15 According to the definition of an Australian
woman’s film as stated by Mary Ann Doane and Jeanine Basinger, “A woman’s film is a
movie that places at the center of its universe a female who is trying to deal with
emotional, social, and psychological problems that are specifically connected to the fact
that she is a woman.”16 This definition is Pai’s world throughout the film.
The woman’s film is often directed by a woman, which is the case with Whale
Rider. Niki Caro is a white New Zealand woman, who after directing Whale Rider,
directed North Country, a film that focuses on the struggle of female miners.17 Yet,
Whale Rider does not fit into any of the sub-genres associated with the Australian
woman’s film. The film is not a “paranoid gothic thriller,” Pai does not suffer from
mental illness nor is she a mother. And there is no love story in the sexual context that
emphasizes this last sub-genre.18
Though the film has a strong female character, there are still male dominant
elements throughout the film. The idea of mateship was never defined as a plutonic
relationship only between men. In fact Whale Rider portrays the bond between Pai and
Hemi and young boy in the film. It is Hemi who originally teaches Pai how to hold the
Taiaha properly and he later stands up for Pai after their fight. Though the bond is not a
significant element throughout the film, the relationship portrays the respect between the
two characters. No other characters of that age share the same bond within the film.19
In a way the mateship that takes place between Pai and Hemi alludes to the
acceptance of a female leader. Whale Rider is a coming of age story in a cultural context.
Pai is a determined young girl at the start of the film, and a leader in the end. The
cultural element is very important to the themes of the film. The cinematography, the
long shots of the ocean and the land, not only portray the setting, but draw the connection
between the people and their land. Like many Australian films, the connection to the
land or a specific animal is very important. In many Australian films this animal
connection is with a horse rather than a whale, but the emphasis on equality and respect
Johnson, Brian D. 2003. “Whales of a Time.” Maclean’s. Vol 116; Issue 24, 16 June.
Gillard, Gary. 2006 Chapter 6: The Woman’s Film. Class Readings.
17
www.imdb.com, Niki Caro.
18
Gillard, The Woman’s Film.
19
Whale Rider
15
16
for the animal is still the same. Though Australia and New Zealand are both oceanic
countries the terrain is quite different. Where the Australian film emphasizes the desert,
New Zealand portrays rolling green hills and vast blue ocean. Though the land is
different, both countries accentuate its importance in film.
There was a lot of critical response in regards to the film. Having been nominated
for an Academy Award and meeting success at a number of film festivals, Whale Rider,
though originally seen as an independent film in the United States, was shown to a
broader range of audiences with much success. Much of the films achievement
surrounded the portrayal of Pai by Keisha Castle-Hughes. Castle-Hughes is still the
youngest person ever to be nominated for an Academy Award.20 It is her performance in
the film that caught the eye of many critics around the world and most likely led to the
success of the film. “And in the role of the young heroine, newcomer Castle-Hughes
conveys the innocence, and wisdom, of a secretly intelligent animal, generating fathoms
of empathy with a silent gaze.”21
Whale Rider is a unique and magical film. It is not just a family film, a woman’s
film, an Australian film, or a New Zealand film; it is a film that can touch the heart of
anyone who dares to get involved in the mystical story of a young girls future and her
connection with the past. In the end, the film is a bit predictable as many critics have
agreed. But Whale Rider is a film about a girl trapped in a patriarchal society who must
lead a people that her father does not wish to accept and her brother did not survive. She
must win the respect of a grandfather who does not want a girl, “it’s not Koro’s fault I’m
a girl,” she utters.22 And though we know that in the end she will succeed, the film is still
fulfilling.
20
imdb.com
Johnson. “Whales of a Time”
22
Whale rider.
21
Works Cited
Gillard, Gary. 2006 Chapter 6: The Woman’s Film. Class Readings.
http://www.answers.com/topic/whale-rider. Answers.com
http://www.rottentomatoes.com/m/whale_rider/numbers.php. Whale Rider (2003). “Box
Office Summary”
Johnson, Brian D. 2003. “Whales of a Time.” Maclean’s. Vol 116; Issue 24, 16 June.
Rabbit-Proof Fence. 2002. Director Phillip Noyce.
Whale Rider. 2003. Director Niki Caro.
www.imdb.com. 2003. The Making of ‘Whale Rider.’
www.imdb.com. 2006. Niki Caro.
www.imdb.com. 2006. Release Dates
www.imdb.com. 2006. Whale Rider Awards.