Tuesday, February 14, 2017
Moana film review
Monthly I write a film review for Touchstone (the New Zealand Methodist magazine). Stretching back to 2005, some 120 plus films later, here is the review for February 2017.
A film review by Rev Dr Steve Taylor
Moana is family fun and as such, has much to commend it. Moana is the daughter of Chief Tui and yearns to sail the ocean deep. Forbidden by her father, she finds inspiration in the stories of her sailing ancestors, the encouragement of her grandmother Tale and the resources of the ever-playful ocean. Setting sail, Moana seeks the demi-god, Maui, who is a needed companion in the question to return the heart of Te Fiti to its rightful place, thus replenishing food and fish for her dying village.
Moana is animated and as such, offers a rich and playful colour palate mixed with voice overs and catchy singalong songs. New Zealand actors are well-presented, including Temuera Morrison (Tui), Jemaine Clement (a greedy coconut crab called Tamatoa) and Rachel House (Tale).
Moana has many moments worth applauding. It skilfully tells a Pacific story. It provides resourceful, determined female characters, notably Moana and her grandmother. It affirms that leaders can be female and, in the interaction between generations, points to ways by which cultures might innovate and change. The power of grandmothers to bring change in cultures is a similarity shared with Maori films, Whale Rider (2002) and Mahana (2016) (reviewed here).
Consistent with Pacific understandings, in Moana the ocean is a character, playfully guiding Moana’s quest. On this ocean, Pacific people are highly skilled wayfarers. Watching Moana encouraged me to reach for Karin Amimoto Ingersoll’s, Waves of Knowing: A Seascape Epistemology. She argues that for Pacific people, the ocean is not only a place for swimming and fishing. More importantly, it is a way of knowing and being in which are resources that help Pacific peoples resist the rising tides of colonialism, militarism and tourism.
Alongside these redeeming features, Moana glosses over a complex set of Pacific realities. In the real world of Kiribati, the ocean so glamorised in Moana continues to rise. This nation of 37 islands, none more than three metres above sea level, with a capital city more densely populated than Tokyo, desperately needs not only a demi-god returning Te Fiti’s heart, but people and nations willing to embrace more sustainable ways of living.
Another reality check comes as Moana is placed alongside 2011 movie, The Orator. The differences are stark. With Moana, Walt Disney invested over $150 million, to tell in English a story from another culture. In The Orator, Blueskin Films spent $2.3 million, to tell in Samoan a story of its own. One brings into focus a chief’s daughter, the other a dirt-poor taro farmer named Saili. In Moana, the animated bodies are beautiful, while in The Orator, Saili is a dwarf, bullied by taller Samoan villagers. In The Orator, hierarchies are challenged, not with the help of demi-gods, but by actions of courage, resilience from those on the margins of village life.
See Moana. But may it not be the only Pacific movie you watch as this new year unfolds. And please God, may each of us, and every viewer of Moana, find ways to act for climate change on behalf of the people of Kiribati.
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