good film techniques, grainy feel, weird atmosphere

Rating: Null/10 (31 October 2002)

Darren Aronofsky's Pi is definitely a unique and innovative film. Starring a genius mathematician who has found the numerical key to the stock market, Pi takes you on a wild black and white adventure through his struggle against forces who want to use his discovery for their own purposes. Aronofsky's style becomes evident throughout the film as he uses not only the obvious black and white color scheme, but unique editing and camera techniques that contribute to a kind of surreal atmosphere and the very distinct feel of Pi. The first question is: why did Aronofsky choose to go black and white? I think black and white has two major advantages. First of all, now that Hollywood color cameras have become so good, modern color films please the eye but look less realistic. They are saturated with bright, vibrant colors that make evident the use of predetermined lighting setups and look too crisp and beautiful to be real. This can be avoided by reverting to black and white as Aronofsky did. Secondly, if used deftly, black and white brings out the contrast of lights and darks, which looks more visually appealing. Photographers often shoot in black and white because it brings out this pure contrast, without the viewer being fixated on color, and Aronofsky follows suit. We best see the beauty of black and white in the opening scene, when Max is lying face-down on his desk. The shadows on his face stand out against his silvery eyelid, which is the only moving thing in the picture. This image feels and looks very attractive, and hooks the viewer in so that he is interested in what this film is about. I think the use of black and white was successful with Pi. Besides the black and white color scheme, Aronofsky uses original editing techniques in Pi. Whenever Max Cohen, the protagonist, takes his pills, we hear the cap on the pill container popping, him saying things like `200mg penicillin, marinol, 1mg dihydrogen mezolate.', fast-paced techno music, and the pills as they are swallowed. We see flashing, fast-cut images of pills being taken. This scene is repeated throughout the movie and serves as a kind of constant repetition that keeps the viewer familiar and in rhythm with the movie. Another example of Aronofsky's inventive editing is the scene in the subway, when Max pokes his own brain with a pencil. Every time he touches the brain, a sharp, high pitched buzzing noise ensues and the screen flashes white. After a while, the white screen dissolves into an image of an oncoming subway train. This scene provokes a kind of disgusted, `weirded-out' reaction in the viewer that could not have been created had it not been for Aronofsky's editing. The editing of Pi contributes to its very different feel, and both the pills and the brain scene add to what makes this film different from any modern Hollywood thriller. A particular scene that I find demonstrates great mis-en-scene is the one in the subway, when Max is walking hesitantly towards what seems to be his own brain sitting on the stairs. It is set up symmetrically, and the ceiling supports on either side of Max vanish into a very clear, even horizon line. It is at first a long shot, where we can see Max's hesitant movements and body language from a distance. The white pillars in the subway station contrast sharply with the dark floor. Then, as Max moves forward, we can distinguish his features and the screen becomes black with his jacket and pants, and when he kneels down to examine the brain, his face is lit strongly by studio lights. All the while, suspenseful synthesizer rhythms are playing in the background. This scene has a bizarre atmospheric tone to it, and is very characteristic of the entire film. The great mis-en-scene and editing of Pi fit it into the Formalist category. Although the action scenes, such as the one where Max chases a photographer out the subway and into the street, are shot with a shaky camera, every angle seems calculated to provide exciting visuals rather than to document events realistically. When the movie mellows out, such as in the numerous scenes in Max's apartment, the camera rarely moves. Instead of panning around, Aronofsky simply changes our view of the action. This is more quiet and subtle, instead of having so much Blair Witch-esque movement. Also, the fast cuts in the pill scenes were definitely predetermined and Formalist. Overall, I think Pi is well put together and that its Formalist shots are beautiful. Pi is a great example of the best things that come from low budget independent movie making. Aronofsky proves to us that ideas are more important than money, and good acting more interesting than special effects. It's a pity mainstream Hollywood ignores this time and time again. With its grainy, flashing, black and white textures, beautifully put together scenes, and fresh editing techniques, Pi is an innovative masterpiece of underground film.