This suffering represents the obstacles that Pi, like any other hero must overcome to begin the stage of initiation.
Body Paragraph 2
Pi faces temptation after arriving on the Algae Island where he and Richard Parker replenish themselves which lulls him into a false sense of security desiring to stay instead of continuing his quest
"The algae had a light sweetness that outdid in delight even the sap of our maple trees here in Canada.
In the end, the film clearly suggests that it is up to us to make our destiny and discover what it means to be human in a vast cosmos. The film does not necessarily tell us what those meanings are, only that we will need art, science, technology, and philosophy to find those meanings as our existence evolves. Apparently, the final scene of the star child gazing at Spaceship Earth suggests our destiny is traversing the stars. Unlike Life of Pi and The Tree of Life, the star child scene offers no creation myth, only soaring music to inspire the journey.
This time is also when Pi engages in the practice of 3 different religions which leads to him being looked as being unusual by others.
Pi's father informs him and his brother that they would be leaving India for Canada which is very foreign to them.
Part 1: “Dawn of Man.” The opening section of the film shows humans to be one of the evolutionary species existing in the biosphere on Earth. With the unexplained appearance of the black monolith, it seems that it is either a symbol for technology or it was created by an ancient space faring species and it inspired the early apes to create technology. Once the apes contemplated and touched the monolith, they soon invented tools from bones. Kubrick’s famed cut from the bone tossed in the air to the space station floating in space brilliantly captured in a single moment and in a single thought the entire trajectory of human cultural and technological evolution, from the stone age to the space age. 2001 suggests evolution has provided us with a brain and human reason, precisely because there is no one to shape our destiny or give us meaning except ourselves and the best within our arts, sciences, technologies, and secular philosophies.
Let’s briefly look at Stanley Kubrick’s 2001: A Space Odyssey, the space age masterpiece which explored humanity's three deepest existential and cosmic conditions, based in the new known universe of “unimaginable time and space.” What follows in no way covers all the complex meanings of the film. What I want to show here is simply how the film’s three part trajectory embraces our existence in a vast universe and does not sugarcoat the situation with conventional narratives of deities planning our destiny.
Part 2: “Jupiter Mission.” This section of the film shows the roles of art, design, science, and technology in human survival, on Earth or in space, as illustrated by the various space crafts and technologies. 2001 shows how we have extended a complex technological system around the planet and far out into the cosmos. The space station, space craft, architecture, furniture, clothing, computers, chess game, video phone, and drawings of the astronauts illustrate the essential role of art and technology in human existence and human identity. Art and media technology are ways to extend our consciousness and expand our knowledge, to represent reality to ourselves, to create our identity, to shape our destiny. In the Discovery spacecraft, we see a symbol of the cradle-to-grave womb of our technological existence, the push-button automated world with ambient media and interactive computers, running 24/7, all the time. Cruising through outer space, Discovery is controlled via cyberspace. Within the ambient media technology, everything is under human control except the humans, who place themselves under the control of the HAL 9000 computer. Amidst the wonders of technology in the film, 2001 also warns us about the danger of placing our selves under total surveillance and under the total control of machines.
The Tree of Life is a masterpiece that equaled 2001 and exceeded it emotionally? Better than masterpiece, an eruption of a movie to live with and think about? These are startling claims. What about the intellectual premises of The Tree of Life? What about the cosmology? After all, as Ebert explained, “it all happens in this blink of a lifetime, surrounded by the realms of unimaginable time and space.”
Better than a masterpiece — whatever that is — The Tree of Life is an eruption of a movie, something to live with, think, and talk about afterward.
Pi's fulfillment of the heroic characteristics of the archetype are evident as he goes through the stages of departure, initiation, and return.
Pi lives a comfortable life with his family in side the zoo which represents his
or home culture.
Pi's father informs him and his brother that they would be leaving India for Canada which represents his
call to adventure.
Pi faces the challenges of living at sea with Richard Parker which represents
the road of trials.
at the magical island where he believes he's safe.
the rescue from without
when he is hospitalized in Mexico.
mastery of two worlds
when he completes his journey and takes a double major in Zoology and Religion.
Pi lives a very comfortable life with his family in the zoo where he enjoys the luxury of being surrounded by what he calls one of the most beautiful places in the world.
And so it goes with God.” Conclusion questionable stories
brutal reality, faith, belief
God guides Pi
Life of Pi is the story of a young boy that uses his belief and strong relationship with God to survive on a boat with wild animals and go to the core his beliefs in order to do so.
The Tree of Life is supposed to be about the search for meaning and finding peace in the awe-inspiring universe, yet offers little more than masculine posturing and mainstream anti-intellectualism. To find the meaning and peace, we apparently have to shut down the scientific, curious, and creative parts of our brains. What’s with those clouds in the sky? “That’s where God lives,” says Mom. And reputable critics report this film is some kind of a philosophical masterpiece. Roger Ebert writes in the Chicago Sun-Times:
Part 3: “Jupiter and Beyond the Infinite.” This section of the film shows we exist in a vast cosmos of deep space and deep time. Deep space extends across the light years of the universe, while deep time extends back prior to human evolution and far into the future. In this part of the film, Dave’s journey is our journey, into an awe inspiring and perhaps terrifying voyage into deep space, which, it seems, is human destiny, personified by the star child gazing upon Spaceship Earth. Evolving from stardust, humans have made the leap from apes to star children, transforming their existence and destiny through art, science, and technology, all in an expanding universe of vast voids.
Since The Tree of Life suggests the deity is overseeing the cosmos, it apparently spared the cute dinosaur, but not Sean Penn’s cute brother, who was killed in an accident. As in Life of Pi, we are to conclude the deity has yet another mysterious plan for everything in the vast universe, a plan which relieves the omnipotent deity from an responsibility for not preventing the deaths in the first place.