Life of Pi

A giant freakin' tiger.

An island of meerkats.

A fluorescent whale.

And a mischievous moon bear.

Members of the animal kingdom make up portions of Life of Pi's supporting cast and fill its fictionally fortuitous filmscape with a carnally introspective constabulary.

Indicative of spiritual tribunals.

Necessity being the lover of retention, and survival, romance's wherewithal, Pi Patel (Suraj Sharma) makes the case for creative license, while providing a noteworthy response to Heart of Darkness/Apocalypse Now.

Pi's religious curiosity leads him from Hinduism to Christ to Allah and his individualistic embrace/mix of the three is openmindedly archetypal (substitutes welcome).

It's difficult to write about Life of Pi's most compelling point without ruining the film, but, as a film, for me, although I was disappointed that more time wasn't spent directly presenting the convincing case Yann Martel makes for the existence of zoos in the novel, its 'make or break' stretch takes place in the lifeboat, where Pi and Richard Parker negotiate a pact which keeps their cross-examinations afloat.

And it works. The stretch seductively elaborates upon while subtly advancing Patel's position, building up to a moving somewhat overdone transubstantive summit, celestially washing up on shore.

I'll have to wait to respond to the rest (I'm not convinced [and can't explain what I'm not convinced about]).  

The moon bear doesn't have a big part.

There is a moon bear though.

And he or she looks mischievous.