Plot Details: This opinion reveals major details about the movie's plot.

While most of us may scratch our heads and utter What the h--?there are those that understood every word, phrase and nuance in this strange flick (his first feature) by Darren Aronofsky. I was glad I had already watched REQUIEM FOR A DREAM because it made me familiar with the pacing, the intelligence of the premise, and the jittery feel to the flick, and bid me pay close attention. Of course, after only two films, who can say what Aronofsky will do next? But his stamp, unique and disturbing is all over his first two. (I understand he produced a movie as a student (Harvard) in 1991, that won awards, but it isn't out there for public consumption.)

building the myth of Aronofsky

The man may be a creative genius. It certainly looks promising so far. Since both of his feature films share some characteristics, let's start constructing the myth not yet verified by a long history. This film earned him awards at The Sundance festival in 1998. The danger, of course, is that style replaces substance.

PLOT CHARACTERISTICS

Both PI AND REQUIEM FOR A DREAM involve the inner life, the life of the mind. The people are real; they suffer. Although there may be limited identification with these characters, they are very human. And in both films, obsessions predominate. The characters aren't always lovable, but neither are we. (I know, speak for yourself) The emotional ride is like a ride on the freeway, coasting along, to discover you don't have any breaks. You'd LIKE to turn it off and give your adrenal glands a break, but you don't want to miss anything.

PHOTOGRAPHY/ CINEMATOGRAPHY

I am convinced that Aronofsky is on to something here. This film was exclusively black and white and REQUIEM was a masterpiece of color manipulation. He uses 'heat-cams',and what he calls 'snorricam' strapped to the actors, shakes the camera, goes in and out of focus (yeah I know, it sounds like a home movie) but it is done well, drawing you into an intimacy with the protagonist, sometimes against your will. The patterns photographed are part of the plot, and are present in every shot. They used black and white reversal stock, and increased the contrast eliminating most of the gray tones. Of course, it also allowed for quite a bit of stage makeup.

MUSICAL SCORE/SOUND EFFECTS

The original score by Clint Mansell is the same kind of jittery nerve pounding music and noise that assaulted the audience in REQUIEM FOR A DREAM. It is relentless, like one cup of coffee too many, at the very start of the film, a screech of fingernails on a chalkboard. Thankfully it doesn't stay at the same pitch throughout the movie. Listen to the 'Archimedes' theme.

The look and feel of madness

The real impact of both Aronofsky's feature films is that, instead of telling the story of impending psychosis (GIRL INTERRUPTED for example), he takes us there. The chaotic elements of the film increase mirroring and intensifying the dilemma of the protagonist. This same technique was obvious in REQUIEM FOR A DREAM, and if you are willing to take the ride with Aronofsky, you will realize that he is trying to show how it feels, not how another might tell the story. There is a difference between watching and experiencing.

The elements that contribute to the madness of Max Cohen are multiple. Although I have never become psychotic (and there are those who would disagree) I have watched the process many times in a clinical setting. The first element is the social and physical isolation. Max Cohen literally lives in his work, rarely making human contact. He only has one friend, and that friend is a man within the context of his work. He has almost deliberately isolated himself from his emotions, and as the movie progresses, the dissociation increases. The most dramatic examples of this are the 'brain' scenes.

Another element is the obsession with the meaning of the world, seen as some sort of quest for absolute truth, and ultimately ' Order Versus Chaos'. The search for absolutes is not in itself a diagnostic feature of madness, but it is certainly frequently present in acute delusional psychosis.

A third element in the dissolution of Max Cohen is his increasing use of drugs, pills, hypodermics, or anything that will relieve the pressure of his blinding headaches. This particular act (of self- medicating) is a plot device in REQUIEM FOR A DREAM.

Of course the seeds of madness are present in the character from the opening scene, when we are introduced to Max. As the movie progresses, watch all the bizarre mannerisms increase, at first slowly, then rushing head first (pun intended) into acutely bizarre behavior. And as it is for most acute psychosis, it is an extremely painful process.




A PIECE OF THE PI

The budget for the flick was $60,000. Many of the cast and crew worked for what they hoped would be future royalties, and passed on the day to day salary. Aronofsky uses friends, relatives, people from his old neighborhood, and shot scenes in his college room mate's parent's kitchen. Aronofsky grew up in that neighborhood. He got small contributions from people (all in the credits, listed as benefactors). The movie was a family affair.

If I have any real criticism of the flick it is this. The movie sounds like the kind of brilliance that issues from the all-night sessions where college students, helped by refined hemp, become masters of the universe. In other words, although it draws on some myths and a limited knowledge of number theory, it is pretty much horse manure(as presented here) It has always amazed me that man (the species) invents words and symbols to describe what he experiences and feels, and somehow confuses his description for the truth, whatever that is. But, I hesitate to be too critical, after all..it is meant to be science fiction.

A pure mathematician (I was married to one for 11 years, a guy who fantasized about Maxwell's equations), will be the first to tell you that mathematics doesn't represent the world, it is the world. And, like Max in the movie, the purpose of theory is the value of predictability. He might have been fascinated by this movie, as was my brother the rocket scientist. But Max kind of wants to make some connection with reality, to understand the world . My spouse never aspired to understand a world he didn't create.

THE DVD

Features include commentaries on two tracks from Sean Gullet (the actor who plays Max), and Aronofsky. I haven't had a chance yet, but Aronofsky is worth listening to, if my previous experience means anything. There are some deleted scenes, that wouldn't have added anything to the movie.

THE PLOT

Max is a brilliant mathematician. He lives alone, with his computer and a theory about numbers. Because everything described can be reduced to numbers, the numbers create patterns. Patterns imply predictability. One mundane assumption is that, using numbers and pattern recognition, he can predict the stock market. But mostly, it is an approach to the world. It is ORDER versus CHAOS, where, even without the sophisticated and complex theories, we understand that there is order...in life.

Max has no friends. He lives alone with his computer (Euclid) and patched together extensions. He broods about, he obsesses about his theory. And he suffers from killer migraines. He is separate from his emotions, and he hates to be touched.

Pi is the number that is infinite, in integers, and relates the circumference and the radius of any circle. The number is always the same, and it extends into infinity. It is a classic problem to mathematicians, and it must mean something...that relates to the nature of the universe.

Max still talks to a former professor , Sol, (who had to give up his work because of a stroke), and through him, we understand what the protagonist is up to, and tangentially, what he is after.

We may think Max is some sort of crackpot, and he certainly is showing some signs of paranoia, and has hallucinations. His headache attacks are more severe, and occurring more frequently. He medicates with pills, with shots, with anything.

But others, too must think that Max is up to something important. He is contacted by Hasidic jews, members of the Cabala a mystical cult who are also after the mysteries of the universe, translating the Torah into numbers. For them, order represents the living GOD, and the pattern, or code is hidden somewhere in the Torah.
Another group, with more mundane interests, wants the magic numbers, for wealth? for politics.

Max gets crazier. The boundaries get fuzzy. The headaches get worse. The Hasidim close in, the thugs get closer, wanting answers. When Euclid, Max 's computer crashes, it spits out a number before it dies. Max is carrying that number only in his head.

The final act of the movie, I will leave for you to watch. It is a very satisfying ending and you'll be glad you stayed for the end.

CAST

Sean Gullet As Maximillian Cohen. This is a one man show, and Sean is the man. He has amazing eyes, and does an excellent job in this movie. He helped Aronofsky with the writing. (The were best friends in college)Max is a brilliant character, whose 'changes' are done with an intense ability. Some of the scenes are so well done, they are painful to view.

Mark Margolis as Sol Robeson, the older mathematician, who is the mentor and former teacher of our hero. For much of the movie he seems to be the only sanity...and I'm not that sure about him. He does a good job playing a significantly "older" person, and his performance is good. But his scenes definitely slow the movie a bit.

Pamela Hart as Marcy Dawson, the leader of the thug contingent. This is her first role and she is excellent. I wouldn't want to make her mad.

Ben Shenkmen as Lenny Meyer, the affable and enthusiastic Hasidic jew who takes Max to see the leader of the Cabalist group.

Stephen Perlman as Rabbi Cohen. He passed away since the movie was made, but he does a fine job here.

FINAL RECOMMENDATION

Everyone does not have the same love for movies shot in black and white, or with thrillers where the threat is manifested inside your own head. You do need to pay attention, though, because everything in this film has meaning. I'll leave you with some advice. Beware of any mathematician who says he has the number of God. He's lying. I have it.




Recommended: Yes

Viewing Format: DVD
Video Occasion: Fit for Friday Evening
Suitability For Children: Suitable for Children Age 13 and Older