Pi

Today we're going to review Pi from 1998.

Darren Aronofsky's Pi is a film that delves into the chaotic and obsessive world of mathematics through the eyes of Max Cohen, played by Sean Goulet, a reclusive math genius living in New York City's Chinatown.

Max is convinced that everything in the universe can be understood through numbers, and he becomes obsessed with finding a pattern that could unlock the mysteries of existence.

This obsession leads him down a path filled with paranoia, hallucinations, and a relentless pursuit of a 216-digit number that he believes holds the key to understanding the universe.

The use of the SnorriCam and the film's frenetic pacing contribute to the sense of disorientation and tension that builds throughout the narrative.

The film's score, composed by Clint Mansell, further enhances the atmosphere, providing a pulsating backdrop to Max's descent into obsession.

The performances in Pi are compelling, with Sean Gillette delivering a convincing portrayal of a man on the brink of madness.

Mark Margolis, as Max's mentor, Sol Robeson, provides a grounding presence, warning Max of the dangers of his obsession.

Um, and so we're talking about Clint Mansell, who was, uh, who was formerly of the band Pop Will Eat Itself, and he's kind of Aronofsky's go-to composer.

They haven't worked on every Aronofsky film together, but, you know, uh, Requiem for a Dream and Pi and The Wrestler, Black Swan, and, uh, Noah.

Uh, as, or, you know, so almost every Aronofsky film, Clint Mansell has, uh, been his go-to composer, and, um, they work very well together.

Uh, obviously, um, was it Lux Æterna from Requiem for a Dream that has kind of taken on a life of its own? Like, it's been in trailers and commercials.

And I, I think that's one of the things that's kind of fascinating about the, The Fountain.

I mean, it, it's really not surprising that Aronofsky would trust Mansell.

I mean, you know, their, their previous work on Pi and Requiem for a Dream was fantastic, and I, I think- They, they had a really fascinating trajectory all the way up to, uh, Noah, which is another one of Mansell's scores for Aronofsky that I absolutely adore and is fascinating to listen to, uh, even apart from the film.

But I love that...

My friend Darren

Aronofsky made a film called Pi.

Literally, it made a...

It's a thriller, but it kind of took... uh what was happening in mathematics and looking at the talmud and you know all that kind of stuff um he made it for sixty thousand dollars that was his first

And then they would lift up their box and

pretend they were delivery people.

Then they would go to the corner again, and they sprayed the Pi symbol all over the East Village, West Village, everywhere in Manhattan.

And that became the guerrilla marketing for the movie Pi.

Like, even, like...

Aronofsky, which I mean, like, I know that that's a weird jump from like Pi to Requiem's his second film, right? I mean, like, okay.

Yeah.

So, I mean, that's a pretty big leap as well, but it's still kind of that kind of almost a Lynchian, you know, type of, of.

Because, like, the trailer comes out and it's like, from the director of Sex, Lies, and Videotape brings you this new visionary tale.

Like, I mean, if this starts...

If this is Pi or this is, you know...

Because, again, like, think about, like, Ed Burns making this after Brothers McMullen, right? I mean, like, this is kind of the same, like...

Solid drama.

You kind of think it's going to be a mystery thriller, especially at the beginning of the P.I. getting killed.

But it becomes a drama about adults who probably shouldn't have kids, or if they do have kids, they should... make it more of an effort to connect with them and I like that it had these prickly characters

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