LIFE OF PI
Scene-by-scene commentary on Pi’s first attempts to train Richard Parker1
Use abbreviations: CU, LS etc; and shortcuts: suggest // = CUT; >> = DISSOLVE; L/A low angle; H/A high angle; S/F = SHALLOW
FOCUS; || = parallels or echoes; M = motif
Shot details
1. EXT. PACIFIC OCEAN – DAY (beginning of DVD Ch. 13)
Fade-in to LS of early morning sunrise over mirror-like sea. //
‘eye of God’ OHS emphasises Pi’s new relationship with
Richard Parker [RP], having abandoned the lifeboat to the tiger
(who has eaten the Hyena and attacked Pi) for the relative
safety of his homemade raft.
2. EXT. – DAY (same)
MS of Pi in foreground as VO begins (‘My name is Pi Patel’)
leads to four CU’s of him writing an SOS and sealing it in an
empty “emergency drinking water” can >> LS of Pi in distance
standing on the raft to throw can towards camera – D/F to S/F
reveals XCU of can bobbing in the sea
Film commentary
0:55:01
Surrealism in use of colour, lighting, stillness and
unusual angles with long takes
Mise-en-scene in ‘Eye of God’ shot creates
cosmic symbol of raft and lifeboat apparently
floating in the sky – emphasized by 6-pointed star
shape of raft orbiting the lifeboat.
Cut back from split-focus shot of Pi throwing the
can to the floating lifeboat = graphic match – an
edit that creates a visual relationship between
shots; often emphasising thematic or spatial
relationships between objects or subjects. The
pathos of Pi’s naïve attempt to seek help is
emphasized by both the spatial proximity of the
SOS can, makeshift raft and lifeboat, as well as
the shift in scales (tiny can, small raft, big boat –
all dwarfed by the sky mirroring ocean) and the
metaphorical correspondence between all three
floating objects, belying Pi’s attempt to separate
himself from his predicament.
3. EXT. – DAY (same)
H/A LS of Pi midway between lifeboat and spreading ripples
(M) of his canned SOS in a glassy sea
4. EXT. – DAY (same)
// L/A of Pi turning back to look at lifeboat // MS of lifeboat; RP
appears at gunnel to look out to sea // CU of Pi’s face // tracking
H/A over Pi’s shoulder as he pulls raft towards boat, zooming in
as Pi lifts canvas to face a roaring RP // L/A CU of Pi’s face //
H/A ECU slow zooming into RP’s glowering eyes // RS L/A CU
of Pi’s face
1
= shot-reverse-shot editing – the cuts back and
forth between Pi & RP following the180° rule with
corresponding eye line matches the pattern of
shooting and editing often used for conversations,
thus building the sense of a relationship between
equals and supporting the underlying metaphor of
RP as Pi’s alter-ego
With guidance from the Survival at Sea lifeboat manual
1
Links to Atonement
Shot details
Film commentary
5. EXT. – DAY (same)
H/A FS of lifeboat with Pi (R of frame) at bow peering under
tarpaulin, slow backward pan as he withdraws, pushing his raft
back and away before looking up to the heavens, saying:
Links to Atonement
“God, I give myself to you. I
am your vessel. Whatever
comes, I want to know.
Show me.”
“God, I give myself to you. I am your vessel. Whatever comes, I
want to know. Show me.” (END OF DVD Ch. 13)
6. (Beginning of DVD Ch. 14) >> CU of ‘World Ocean Currents’
map in Pi’s hands // L/A WS from waterlevel of Pi sitting
Xlegged on raft looking from map to ocean horizon (VO: ‘There
are no lines’). >> Dbl exposure montage of Pi’s head reading in
CU (LH of frame) superimposed over bckgd L/A WS of Pi sitting
Xlegged on raft; bckgd >> CU of another page in ‘Survival at
Sea’ handbook (VO: ‘Set your house in order’);
0:58:09
A return to ‘realism’ in lighting, proximity and
movement, but ironic montage maintains an
unusual tone
Over-tonal montage (Eisenstein) is an effect
that creates resonances in the conflict between
dominant metric, rhythmic and tonal montage
techniques used within a sequence – created
here by juxtaposing the aphoristic, buoyant and
positivist advice heard in Pi’s non-diegetic VO
narration with various incongruous onscreen
images (e.g. ‘community singing is another
surefire way to lift the spirits’ just before a shot of
RP bellowing in the lifeboat as Pi attempts to
collect rainwater from the tarpaulin)
bckgd >> Triple exposure MS of Pi lying on raft >> checking
abrasions >> washing equipment >> CU shading from sun >>
OHS collecting rainwater >> CU marking 11 days at sea tally on
lifeboat (VO: ‘Above all, don’t lose hope.’)
7. >> CU of ‘Conic Shaped Sea Anchor’ page in Pi’s hands ends
superimposed montage // H/A MS of Pi reading, dolly effect
emphasising sea-swell as Pi looks up hearing RP moaning //
CU of lifeboat’s pitching bow; VO: ‘Few things can sap the spirit
faster than seasickness’ // series of MS show Pi carrying out
the VO’s instructions for creating a sea anchor
Change in weather not only suits Pi’s use of
seasickness as a tool for controlling RP, but
corresponds to the more dramatic mood that
follows the ironic ‘Survival at Sea’ montage.
8. >> from H/A CU of sea anchor to LS of Pi using it with the
lifeboat // CU of Pi using whistle as he pulls on the boat’s line
While Pi’s actions now appear to correspond to
the VO instructions from the SAS handbook, it
soon becomes apparent that he is inverting their
purpose: using the sea anchor, not to ‘reduce
seasickness during rough seas’ but to increase it
in RP.
// slow panning LS of Pi working lifeboat against the waves // M
& CU shot-R-shots of Pi approaching the boat, spiralling up to
OHS of Pi announcing ‘the astounding Bengal tiger’ //
VO: ‘For castaways who must share their
lifeboats with large, dangerous carnivores, it is
advisable to establish a territory of your own.’
Subliminally acting on the SAS guide’s
recommendation to ‘tell stories’, this is clearly Pi’s
own fictional variation on its step-by-step
advisories. As the VO segues into the register of
animal training, Pi shouts rhetorically in the
persona of a circus ringmaster
9. CU of a seasick RP inside the lifeboat // CU of Pi at gunwale
aplogising for ‘the choppy ride’: shot-reverse-shot editing || Sc.4
= (apparent) reversal of power // LS of Pi leaping onto tarpaulin
// H/A over Pi’s shoulder, screaming at RP // RS L/A CU of Pi’s
desperate face // CU at RP’s eyeline from between Pi’s spread
legs of him urinating // Frontal MCU of Pi shouting at RP
(claiming his territory) // LS of Pi & RP at opposite ends of
rocking lifeboat // CU of RP opening his jaws & turning to
camera // CU of urine spraying Pi’s face // H/A LS of Pi falling
out of boat (END OF DVD Ch. 14)
VO: ‘Step four: disregard steps one through three’
2
‘Set your house in order
and dig in for the battle to
survive’
Shot details
Film commentary
10. EXT. – DAY: 24 at sea (Beginning of DVD Ch. 15)
// Master (or establishing) shot of shaded Pi on raft at L
tethered to lifeboat on R of frame || Sc.2 = equilibrium returns
// steadicam CU of Pi distilling & drinking fresh water // MLS of
Pi bringing a pail into the lifeboat, zooming out as he whistles
for RP // H/A MCU of RP coming out from tarpaulin // MLS of
RP growling at Pi and drinking from bucket >> CU of Pi writing
the VO in his diary // series of CU and MLS of Pi attempting to
fish for RP’s food // MLS of RP sitting up in lifeboat licking lips
// RS of Pi telling him to be patient // LS into sunset of
impatient RP pacing around lifeboat and Pi beyond
th
1:02:29
Pi’s change of costume suggests a new rationalist
approach to his predicament, while using the solar still
for evaporative distillation of fresh water gives it a
scientific emphasis.
VO: ‘In the zoo, we fed our tigers an average of 5kg of
meat a day’ The narration has similarly returned to an
equilibrium of pragmatic necessity – Pi is now
speaking from his own experience.
11. // LS of RP looking over side growling at fish in the water // LS
of Pi watching RP as he winds in a line // LS of RP leaping
from R to L into the sea // MCU reaction shot of Pi // LS of RP
swimming // L/A underwater panning full shot of RP paddling
overhead // CU of Pi’s amused reaction // MCU of RP
swimming around towards Pi // CU of Pi’s reaction turning to
fear – further suspenseful shot-reverse-shot editing of Pi
frantically pulling himself towards lifeboat as RP approaches //
Circling L/A waterline MLS of RP reaching the raft just as Pi
clambers into the lifeboat & desperately pulls raft out from
under tiger and into lifeboat // CU of raft slipping up topside of
lifeboat reveals tally is up to 24 days at sea // MCU of RP
paddling around & attempting to crawl aboard lifeboat // MCU
of Pi finding an axe // CU shot-reverse-shot of enraged Pi
(L/A) facing off bedraggled RP (H/A) // H/A LS of calmer Pi in
lifeboat (‘I’m thinking’) as RP paddles around it
12. EXT. – NIGHT
>> MLS panning from horizon back to RP dangling by a claw
from ropes alongside lifeboat, as Pi moves around inside;
checks RP with flashlight // MLS of Pi on tarpaulin beside raft
loaded with provisions, which he lowers in water on other side
before pullback to LS of RP clinging to near side; Pi lowers a
board for RP to climb back into lifeboat.
// MLS of sopping RP standing in boat // rev. MCU of Pi with
whistle watching from raft // rev. MCU of RP turning towards
Pi, before going under tarpaulin (END OF DVD Ch. 15)
13. EXT. – DAY (Beginning of DVD Ch. 16)
>> L/A underwater full shot beneath raft panning up out of
water to H/A master shot of Pi auditing provisions // CU of Pi
checking off items in the SAS guidebook // waterline level LS
panning above and below water of Pi lowering a net from the
raft // L/A underwater CU of fish approaching as Pi grasps net
from above // H/A LS zooming into MCU of Pi struggling with
fish // L/A CU of Pi attacking it with axe // H/A CU of netted
fish over Pi’s shoulder // shot-reverse-shot editing of
traumatised Pi and panting bright-eyed fish || Sc.11
1:07:49
|| Sc.11 = Pi has acted out the murderous violence
with which he threatened RP in self-defence, using the
same weapon
// waterline LS of Pi giving a prayer of thankfulness to Lord
Vishnu ‘for coming in the form of a fish and saving our lives’ //
H/A LS of Pi throwing it into lifeboat & whistling for RP // CU of
Pi listening to him eat before pushing his raft away. (END OF
DVD Ch. 16)
3
Links to Atonement
Shot details
14. EXT. – NIGHT (Beginning of DVD Ch. 17)
>> H/A master shot of lifeboat and Pi’s raft in RH third of
frame under brilliant full moon in central third; fluoresecent sea
creatures below water surface appear to reflect stars in indigo
sky // MLS of lifeboat from Pi’s POV gently rocking in water –
movement of sea creatures suggest they, rather than any sea
swell, are source of the kinetic energy // reverse MLS of Pi on
raft // O/H CU of Pi stirring his arm in water below his raft, to
create phosphorescence // reverse L/A CU of Pi’s face,
looking around in surprise, wonder // reverse O/H CU of Pi
stirring more vigorously // ‘eye of God’ OHS || Sc.1
Film commentary
Links to Atonement
1:10:09
|| Sc.1 = while night is a natural reversal of day, this
closely parallels scene 1 in its surreal calm and acutely
sharp imagery, with the same visual arrangement of
objects and mirroring of sea and sky. The contrast is in
the intertextual element of Pi’s innocent wonder at the
natural world (like Coleridge’s Ancient Mariner) after
his previous struggles to survive through reason and
pragmatic hard work.
|| DVD Ch.10 = final shots of the lighted Tsimtsum
sinking below Pi hanging from the prow of the lifeboat
// reverse L/A CU of Pi laughing as he stirs
15. // XCU of water’s surface as something in the depths catches
the Pi’s eye // reverse ‘eye of God’ OHS showing a humpback
whale swimming up to the surface // closer focus OHS of
whale broaching between raft and lifeboat // MCU crane shot
through spray of Pi recoiling // L/A from Pi’s POV of whale
rising into air // slow panning WS of whale falling back as it
towers beside Pi’s tiny raft, catching the lifeboat’s towline as it
falls and drags Pi into the water // MCU of Pi being thrown
alongside bow of lifeboat // MCU underwater of swimming Pi
and provisions, panning up to follow him breaking the surface,
and crawling back onto the raft // X ‘eye of God’ OHS of whale
circling lifeboat and raft before diving off R of frame || Sc.3
(NB: following scene’s CU of Pi marking his tally
implies this scene is night of day 37)
It wa s
|| Sc.3 = the shockwave of the whale’s circular path
echoes the ripples left by Pi’s pathetic distress beacon,
but on such a massive scale as to dwarf his previous
anxieties, anticipating the privations to which this little
mishap will lead.
VO: ‘Of course, I brought all the biscuits and water on
the raft with me to keep them safe. Idiot.’
The circular motif links to narrative structure, (the
ripple effect) idea of consequences and universal
philosophies of life and eternity, like the infinitely
recurring decimal form of 𝜋 and its mathematical
connection to the circle)
(END OF DVD Ch. 17)
1:11:57
NOTES on a structural approach to selecting comparative episodes
The first 26 days of Pi attempting to train Richard Parker using the Survival at Sea manual, an episode which links the metaphysical
open-mindedness of Pi’s childhood to his desperate struggle to survive on the open ocean, occurs in the DVD chapters 13 – 17
(0h55m25s to 1h11m30s). These take up 16mins or 14% of screen time, structurally in the middle of the film: from 48% – 62% of
its running time.
A comparison of the film narrative’s length of 115mins on DVD (1h55m20s) with the book’s total of 370p suggests an equivalent
section of Atonement’s length to be @ Pt 1, Ch. 14 p.177 – Pt 2 p.229 (52p.) There are two different coherent sections of the
novel within those parameters:


Part 1, Chapter 14 = p.173 – 187 (14p. ending Pt 1)
Part 2 = p.191 – 265 (74p. middle 20% of novel)
Not strictly a ‘passage’, the first is a relatively short and self-contained chapter of 14p. (≈ 4mins of film time): ‘Her memories of
the interrogation and signed statements and testimony,’ (p.173) to ‘…and finally vanished into the whiteness.’ (p. 187)
A shorter and more self-contained passage of 8p. (≈ 2.5mins f.t.) occurs in Part 2 near the end of the novel’s numerically
equivalent middle: ‘The road no longer had the protection of the plane trees.’ (p.226) to ‘That was the lasting damage.’ (p.234)
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