Rapa Nui

Rapa Nui is more than just a bunch of Polynesian (and Hispanic!) actors running around half-nekkid. It's an allegory about the dangers of theocratic government, and a tale of class struggle. Rapa Nui is the Polynesian name for Easter Island, that famous dot in the Pacific Ocean with the mysterious statues. We get to see how these things were carved - and why. The Long Ear tribe has effectively subjugated the Short Ear tribe, forcing them to carve Moai (statues) in order to placate the gods. Director Kevin Reynolds uses the island and the carving of statues as an effective backdrop to illustrate the enmity between the tribes, as well as a power struggle for eventual spremacy of the island. The film is driven by visuals and ideas. The writing hardly ever rises above so-so, and it's jarring to hear Polynesian-looking people with British, American and Latino accents. But the film has a certain power to fascinate, and for that alone I recommend it highly.

To judge from the derision heaped on this film, one could be forgiven for thinking it must be totally unwatchable, however, that definitely is not the case. The film was shot on location and despite liberties taken with history, it is an absorbing look at a mysterious culture that has virtually disappeared.

1400 years ago, Polynesian seafarers settled on the most remote island on earth, Easter Island or Rapa Nui as they called it. Although most of what is known about their history is speculation based on archaeological evidence, it seems the island went through an intense period of statue (moai) building, followed by an equally intense period of tearing them down. In the course of which, Rapa Nui was denuded of trees and its society decimated by warfare and famine. To regulate their dwindling resources, the islanders conducted an annual ocean race with the winner's tribe ruling the island for a year under their leader, the Birdman.

Kevin Reynolds' movie is about these events. In fact, every event in the island's history is in the film. What took over 1000 years to unfold takes place in what seems like a single season. Time compression is one of the major criticisms of the film.

The writers constructed a Romeo and Juliet love story around the characters played by Jason Scott Lee, Sandrine Holt, and Esai Morales. This aspect of the story is quite effective due to their convincing performances. Less convincing are passages of silly dialogue between Eru Potaka-Dewes, and George Henare playing the reigning Birdman and the High Priest respectively. However, these are exceptions; the rest of the script effectively moves the story along and explains why things are happening to this doomed culture.

The making and moving of the moai are highlights of the film as is the birdman competition; an event so gruelling that by comparison, a modern triathlon seems about as difficult as an egg-and-spoon race. The film recreates the event at the actual location: the cliffs at Orongo. Today it is forbidden to scale these cliffs but it seems the film was shot before the restriction existed.

The score by Stewart Copeland, the former drummer of the band Police, features a blend of choral, orchestral and new age elements. A traditional score may have worked but this one is inspired, delivering a sense that time is running out for Rapa Nui.

Much bare skin is exposed in the movie and nearly all the women appear topless. Gratuitousness is another charge levelled at the film, however the alternative would have been Dorothy Lamour sarongs. Historical evidence suggests the costume designers got it right, which probably pleased the marketing people who no doubt had an eye on the box office.

Rapa Nui offers a very different cinema experience. It is not without the odd gaffe, but it is also totally unique and utterly compelling as well.

I have no wish to comment on the historical accuracy or otherwise of this film, as it is the story that held me enthralled, not the attention to fact.

The first time I saw this film, I nearly had to pick my jaw up from the floor. A hollywood movie.....that doesn't spoonfeed me the plot like some overbearing nanny? An original (for a big studio) plot device? Whew, let me just sit down for a minute. Here's how it normally goes: Hero (young, handsome and likeable) must compete with rival (villanous, evil rogue) in contest of high stakes. Guess the outcome. But in this underrated gem of a story, we find two equally heroic protagonists, all thoughts of friendship lost as they are forced into a dangerous competition of courage and strength. One, fighting for the woman he loves, the other for his life. This forces the viewer to watch in an agonized state of uncertainty. Who do I want to win? Who deserves it more? What will happen to the loser? This was the first film in a long time that truly forced me to get involved with the characters, not in a cliched good versus evil kind of way, but a good versus good "how the hell are they going to get out of this one?" kind of way. Okay, so some aspects of the film do not deliver with the same power, and some of the accents do tend to waver a little, but the beautifully constructed central storyline held me until the end.

A victim of razzing when new and ever since. However, breathtakingly filmed, especially the brutal tribal competition. One of 4 films (and the most unclad) that Jason Scott Lee made in a short time, and even more athletic than his Bruce Lee biopic, 'Dragon', although dramatically J.S. Lee's most memorable performance was as the Inuit halfbreed Avik in 'Map of the Human Heart.'

Sandrine Holt as his beloved is luminous, while Esai Morales is the villain-- -again. A plot-nudging iceberg is obviously a construct but only a brief story device before it floats away. Sadly, the stateside DVD has been withdrawn, leaving only South Korean copies (in English, however) with some manufacturing glitches fore and aft for collectors unwilling to settle for used merchandise..

Like many, I was jolted to hear a bunch of ancient Polynesians sounding like "valley girls" and their boyfriends, but let it pass since at least they were all speaking the same language as they would have been anyway, unlike movies like "Seven Years in Tibet" where Austrians spoke English to Austrians, Tibetans spoke English to Tibetans, and otherwise people who wouldn't have been able to speak with each other all conversing in perfect English... that movie was frankly too much for me. As for the different accents in Rapa Nui, I assumed it was a way to show class differences (after all, Jason Scott Lee has proved he can handle about any accent): the chief spoke hoity toity British, Lee sounded like a poor little rich boy (which he was in the movie), so it kind of made sense. And as a great Jason Scott Lee fan, it doesn't matter how well- acted or historically correct or whatever else the movie is or isn't (and by the way I found it completely passable in those senses) as long as we are treated to generous footage of Jason Scott Lee showing off his perfect physique -- and in this movie he nary wears a stitch. Most of the other young male actors, incl Elias Morales, are up to the job as well. I understand perfectly how thrilled one reviewer was about Sandrine Holt's "performance" and feel the same way about her leading man. Anyway, to avoid redundancy, I basically agree with the other positive things other reviewers have said about the movie, and believe one reason it didn't do great at the box office was due to its unusual subject matter -- something that John Q Public isn't always great at handling.