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Pi (1998)

R  |   |  Drama, Thriller  |  10 July 1998 (USA)
7.5
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Ratings: 7.5/10 from 130,906 users   Metascore: 72/100
Reviews: 580 user | 134 critic | 23 from Metacritic.com

A paranoid mathematician searches for a key number that will unlock the universal patterns found in nature.

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Cast

Cast overview, first billed only:
...
...
...
Pamela Hart ...
Stephen Pearlman ...
...
...
Kristyn Mae-Anne Lao ...
Espher Lao Nieves ...
Joanne Gordon ...
...
Stanley B. Herman ...
Moustacheless Man
...
Photographer
Tom Tumminello ...
Ephraim
Henri Falconi ...
Kaballah Scholar
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Storyline

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 Anonymous

Plot Summary | Plot Synopsis

Taglines:

3.1415926535897932384626433832795 See more »

Genres:

Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for language and some disturbing images | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

Language:

|

Release Date:

10 July 1998 (USA)  »

Also Known As:

3.14159265358  »

Box Office

Budget:

$60,000 (estimated)

Opening Weekend:

£56,008 (UK) (8 January 1999)

Gross:

£133,538 (UK) (15 January 1999)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Trivia

The number Max is searching for is 216 digits long. 216 is 6x6x6; 666 is the "number of the beast" according to the Book of Revelation. See more »

Goofs

When Max is examining the sticky ant remains with his fingers, the substance switches from being on his middle finger to being on his index finger in the close-up. See more »

Quotes

[first lines]
Maximillian Cohen: 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.
See more »

Crazy Credits

In the original script, the man seen singing on the subway was referred to as the "Moustache Man". But since the part went to the clean-shaven Stanley B. Herman, the final movie credits list him as "Moustacheless Man". See more »

Connections

Edited into Sabores do Saber (2014) See more »

Soundtracks

Kalpol Intro.
(Autechre) ©1993
Performed by Autechre
Written by Robert J. Brown & Sean A. Booth
Courtesy of Wax Trax! Records Inc. TVT Records and Warp Records Ltd./EMI
Used by permission of EMI Virgin Music, Inc. (ASCAP)
See more »

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User Reviews

 
not about math, but about obsession, paranoia, searching for answers never found
9 September 2006 | by (United States) – See all my reviews

Pi is the kind of movie I wished I could've seen in one of those dank art-house movie theaters in New York City, as it's practically gift-wrapped for the crowds. But it's not done with every shot lingering on the characters, soaking in minimalism in its black and white photography, quite the opposite. Darren Aronofsky is a filmmaker I first got into through Requiem for a Dream, which now years after I saw it I want to revisit again upon the soon to be released the Fountain and especially after now seeing Pi. Before with 'Requiem', I did like the movie a lot, but felt a little apprehensive about deeming it that old term 'masterpiece' as the editing, while ultra fast for a purpose, almost came off as too "MTV" for me. But years later, after hundreds of more films taken in, I'm ready for a second look. In this particular case, Pi is also the kind of movie that warrants a second look at the director's other films. His themes run just as much together as does his breakneck style. And it's not just to show off; he truly does get inside a psychology through subjective camera AND editing, to a degree that might impress Hitchcock, albeit with some whiplash.

Max Cohen played by Sean Gullette is the protagonist of the story, who's main foe is none other than the universe itself, in a sense, all through one number. Or rather, a series of numbers, one which might unlock the Stock Market secret for him. He doesn't even want to play the market, mind you, but the point for him- if one can follow- might be attributed to a repeated memory he has of looking at the sun as a boy, and soon looking past the shock of actually looking long at it. This is a very small device by Aronofsky but it works well to establish- and continue- this man's downward spiral. And spirals, by the way, seem to also figure into the film, as well as a secret technology firm (with a woman who reminded me of Condaleeza Rice look-alike), and especially a near undercover Hasidim ring where they need the numbers *in* Cohen's head to unlock some big secret to God. But even with all of this pressure, Cohen can't shake what's dogging him around, in his own cramped, wire-ridden apartment, with many bugs crawling around.

The key for this movie really is atmosphere, in the acting (if it makes you uncomfortable sometimes that's the point too, and it's probably the strangest performance of a lifetime for Gullette), the production design (that apartment and the subways), the grainy, spectacular photography by Matthew Libatique, the editing to be sure- which here, unlike the breakneck 'Requiem', does take a break from the cuts so quick they almost past subliminally (which isn't bad)- and the moody music that is so slight you almost forget its there. It even works for me, and this is a big plus, as someone who's not really interested in mathematics (worst subject in school), and even better as it drew me in to his obsessions with it. I really liked one of the early scenes between Max and his the friendly Hassidic man who explains on paper different numbers and their relation to parts of the Torah. And, in the end, it all comes down to getting engrossed through what the filmmaker's bringing in with this man. There is a sort of detachment from reality- that most of us would never touch much of this with a ten foot pole- but then again it really isn't. Aronofsky also makes a point of some hallucinations/dreams adding to the ambiance, skidding almost towards the pretentious, and thus creating a world all of its own in Pi for Max, and for us as well.

A film that I shall certainly seek out again when I can, if only to see if I can understand some things a little more (or maybe not as case might be), and to see such a powerhouse performance from Gullette. Grade: A


11 of 16 people found this review helpful.  Was this review helpful to you?

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