Surprise! and Life of Pi

1891
Henri Rousseau,  Surprise!, 1891



Either on a shipwreck or prowling across a field, tigers are dangerous.  In Surprise! by Henri Rousseau, we can see the darkness of the tiger's face. Contradictory to the movie's portrayal of tigers. Once Richard Parker, the tiger, and Pi Patel are on the life raft floating away we see the tiger's natural instinct: either kill or be killed. Richard Parker cannot fight these natural instincts and becomes violent. Rousseau's portrayal of a tiger, resembles that of Richard Parker in the beginning of the movie. Relying on his natural instincts to thrive. The tiger is in its natural habitat, and looks terrifying for a pedestrian who may encounter this tiger on his pursuit. I know I wouldn't want to interact with Rousseau's tiger.

However, Richard Parker seems more nice, like Raja from Aladdin. I just want to be sitting in a menagerie stroking its multicolored fur, and discussing life issues with him.  Or you want to be on a boat with hundreds of zoo animals in hope that one has a nonviolent attachment to you. Now  Life of Pi is only rated PG, so there couldn't possibly be a freakishly vicious tiger waiting to seek revenge, it needs to be a more humanistic with its facial features.  

These portrayals of tigers show both sides, their dark and predator side, and their nicer side. Each art form brings different feelings along.  Rousseau's is more scary than Life of Pi's (even though Richard Parker tries to consume Pi Patel). They bring awareness of how to react to these creatures as well. So if anyone is ever stuck on a boat with a hungry tiger, Pi Patel has guidelines for you.

  • 7:00 AM

Sunrise in the Sierras and Yann Martel

Bierstadt

Albert Bierstadt, Sunrise in the Sierras, 1872

“If Christ spent an anguished night in prayer, if He burst out from the Cross, 'My God, my God, why have you forsaken me?' then surely we are also permitted doubt. But we must move on. To choose doubt as a philosophy of life is akin to choosing immobility as a means of transportation.” - Life of Pi, Yann Martel

When I read Life of Pi, I was so inspired by the theme of religion that I was immediately transported to the children's sanctuary where I belted so many hymns as an elementary school student. I specifically recall the lines to one song in particular that says ,"Though the sorrow may last through the night, the joy comes in the morning." This sense of hope came to me as an image of a sunrise, but what I fell in love with about this particular sunrise, is the despair that looms at the bottom that so perfectly captures the feeling of doubt that Martel talks about. Bierstadt perfectly materializes the sense of hope that Yann Martel describes through emphasis of the coming of a new day.

The lower third of the painting is harsh and undefined, with wide horizontal strokes that provides a contrast with the definition of the mountain peaks. Slightly higher up, the strokes become softer and smaller, which transition the eye to the beautiful orange and blue of the new day. In addition, the snow on the peaks represents the possibility of life that comes with having hope. Though it is easy to get caught up in the chaotic blur of navy and black that is doubt, Bierstadt ultimately captures the beauty and hope of life that comes with each new day.

  • 7:00 AM