After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
Max is a genius mathematician who's built a supercomputer at home that provides something that can be understood as a key for understanding all existence. Representatives both from a Hasidic cabalistic sect and high-powered Wall Street firm hear of that secret and attempt to seduce him. Written by
Michael Drosnin has a theory that if you put the Biblical Text through a computer and select letters at certain regular intervals, a decoded message emerges that predicts the future. Skeptics observe that he keeps trying it until it appears to work. This is a modern sophistication of a hobby that Isaac Newton sometimes indulged in; finding mathematically hidden messages in the Bible. See more »
Max indicates that he medicates himself with "Promazine 'HCI'." The proper name of the drug is "Promazine HCl," where the HCl stands for hydrogen chloride. The error likely occurred when either Max or a filmmaker mistook a lowercase "L" for a capital "I" on a bottle or prescription. See more »
9:13, Personal note: When I was a little kid my mother told me not to stare into the sun. So once when I was six I did. The doctors didn't know if my eyes would ever heal. I was terrified, alone in that darkness. Slowly, daylight crept in through the bandages, and I could see. But something else had changed inside of me. That day I had my first headache.
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End credits shown over bugs crawling on Max's papers. See more »
'Pi' is independent filmmaking at its best. Without the constraints of the studio/corporate system, Aronofsky and Gullette created a film that is bizarre, intelligent, and unlike anything that came out of Hollywood in the 1990's. Who would have thought to blend Wall Street, the Kabbalah, computer science, Go, number theory, and the most fascinating number in the universe in a solute of obsessive-compulsive, paranoid genius and then strain through gritty B&W cinematography and hyperkinetic editing? The mixture is definitely not for everybody, but I certainly loved it.
Plus the soundtrack (featuring Orbital, Clint Mansell, Aphex Twin. Gus Gus, Spacetime Continuum, and other techno talents) just flat-out rocks.
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