I’d imagine the toughest feat for a writer would be that of adapting a novel into a screenplay.
Fans of books made into movies are usually preoccupied with the details when it comes to critiquing the film.
Life of Pi the novel was written in three parts – Part 1 exploring Pi’s background that lays the foundation for the story (hey, it isn’t called Life of Pi for nothing) – leaving Part 2 to relay the unfolding action for the story between Pi and Richard Parker – and Part 3 to conclude with the ending of the story as Pi washes up on shore. Reflecting on Life of Pi the novel and Life of Pi the movie were ultimately the same experience for me, and you can’t often say that about a book made into a movie.
Okay, so I’ve said Life of Pi is visually stunning – but take into account it matters what is visually stunning, and Pi the movie gets the right what. It can be a tough act to follow, and Life of Pi the movie follows beautifully in Life of Pi the novel’s footsteps. I would guess that both of these choices were made for mostly creative reasons, and I applaud David Magee and Ang Lee for being as faithful to the book as possible. What did you think about Life of Pi the movie – as either a reader of the original book or as just a movie-goer – and what would you say makes a dynamite film adaptation? The story started in Pondicherry, India, giving a lush description of the fragrant life there.
If this book had a main character of a straight forward, rational, National Geographic-y adventurer, then it wouldn’t be half as interesting. The two are such distinctly different animals in development, and yet in execution both must convey the same essence.
Based on the amazing novel by Yann Martel, Ang Lee’s film (screenplay by David Magee) retells Pi’s story not only in visually stunning fashion but with the same witty candor and heartbreak as the original. Having learned how to do both, I know that writing a screenplay and writing a novel is as different as night and day.
I was like this with the Harry Potter movies when I was younger, especially when The Sorcerer’s Stone came out and I was all butt-hurt that my favorite line in the book didn’t really make it fully into the movie. Life of Pi the movie followed the very same structure, right down to the Japanese men interviewing Pi at the end. The origin of Pi’s name – and Richard Parker’s, the name of the ship (Tsimtsum), Pi weeping over killing a fish for food, Pi’s “survival guide” narration, Pi commenting on Richard Parker unceremoniously abandoning him…. A novel relies solely on the imagery the reader is able to conjure in their mind, but a lot more is at stake with a movie and even more so with a movie based on a book.

Before seeing the movie, I read that Life of Pi was director, Ang Lee’s first film incorporating 3D – and I have a huge beef with 3D special effects, they have to be done a certain way for me to warm up to them – and I have to say the balance was perfect.
Gotta give it to Suraj Sharma for his dedication to the role, he gave one heck of a performance.
I do have a couple complaints with the film version, and I want to dissect not only why I have the complaints (what I feel went wrong) but why I believe writer, David Magee and director, Ang Lee made the choices they did in writing and executing the screenplay. It’s communicated mostly through dialogue, which again, worked for the book so I can see why it would be translated that way into the film version as well. A book is a perfect small token, something unchanged by time, and yet, I, the reader, might change.
Some said it was a proof of finding God, restoring the faith to God, some said it was a magical journey.
He was the second son of a zoo owner, an avid observer of animals, and someone who was fascinated by God and religion (in fact, he took up three at once: Hinduism, Christianity, and Islam). It was all good until one day the father decided they were to move to Canada, along with some animals on a big cargo ship.
It’s not much of a spoiler, because we already know what happened anyways, but you might want to have your opinion first before reading mine. The vagueness with a hint on reality of it made it a more compelling story after I chose to see it as it is. In writing a screenplay based on a book, you are writing for two different kinds of audiences – those who have read the book and those who have never read the book – and to top it all off, the heart of the story must be captured in a very short amount of time.
But what makes the film an instant standout among adaptations is not its stunning visuals or its excellent script but its ability to tell the same story without sacrificing what makes it both a superb novel and a superb film. A novel’s strengths could be a film’s biggest weakness, and what makes a killer movie makes no difference in how a book will stick with you even years after you’ve read it. But what really matters in film adaptations is not the details, it’s the essential structure of the story.
The movie could just as easily have chopped out the first part and cut straight to the action and embellished – disappointing fans of the book – or it could have decided to get clever and put the Japanese men interviewing Pi at the beginning, instead putting the entire movie into “flashback mode” – disappointing movie-goers. All those seemingly little moments are what give the story its heart and soul, and the movie included all of those essential moments without feeling like it was uncomfortably crammed into two whole hours. The film not only has to be visually appealing for a film’s expectations, now it must be visually appealing on a level predetermined by the expectations of those who have read the book.

Effects are sometimes overdone to the point of the movie feeling unrealistic, and this was definitely not the case with Pi. But while for the book it did a wonderful job of acting as a set-up for, and accompaniment to Pi’s story, somehow in using it as a device in the film, it falls flat. But for the film, I would have liked to see the idea shown in a visual way, rather than just Pi fabricating this story solely through dialogue from a hospital bed. Not so much about the mood I was in when I was reading the book, but more of my standing point. I chose to view it as a survival adventure, and a very compelling and colorful one at that. Then again, film adaptations always run the risk of lacking the substance that made the original story such a winner in the first place – to the point where you’re thinking, Hey, where’d my book go? Just like the book, it felt both fantastical and real – and from the fierce storm on the ship to the simplicity of shooting in India, the right moments for this story to be visually stunning as a film could not have been chosen more perfectly.
Automatically the ending is given away, since we obviously know Pi survives his ordeal – which served the novel just fine, but a film with that intense of a storyline needs that suspense to really make it good.
And sometimes, in order to make life more interesting, you just need to add a tiger so you would focus on the more important things instead of worrying about that small tore in your clothes. If a screenplay is faithful to the original structure of the novel, then the right details that are crucial to telling the story as a script, and as a movie, will fall into place (assuming, of course, you also have the best screenwriter for the project!). Do I think the film would have been better off without incorporating the writer (based on Yann Martel himself) coming to talk to adult Pi? Even if just shown as a short, narrated scene, I feel something more like that would have made for a more powerful ending for the film. I like how observant he is with the zoo animals, and I love how he would embrace religions without judging them. In a story where the main character is so dominant, I found I have to love them in order to want to read the whole book.
That all of his journey, the creatures he encountered and the survival was also metaphorical?

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