Semiotic Analysis of Life of Pi

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Society is exposed to popular myths in motion pictures on a regular basis. A myth is a traditional story with the purpose of displaying a world view, therefore a cultural mind-set, and clarifying a natural phenomenon. This essay analyses the film Life of Pi, based on the best-selling story by Yann Martel, using Joseph Campbell’s formula for the monomyth, also called the hero’s journey.

Campbell’s book The Hero with a Thousand Faces examines the monomyth and the hero’s adventure and his basic structure can be found in most popular culture narratives, consisting of the separation or departure, the initiation and the return.

Life of Pi is one of many films that follow this basic narrative structure. A hero is an archetypal figure and the hero and main character in Life of Pi is Piscine, later called Pi. In stage 1 (the departure), Pi’s heroic adventure starts with the first phase, the Call to Adventure, which is defined as the stage where the hero is drawn to the adventure (Winterbach, 2006). In Life of Pi this phase starts when Pi’s father becomes incensed over the government’s actions and decides that his family should move to Canada – an unknown world for Pi. The second phase is the Refusal of the Call, where the hero refuses to accept the reality of going on the adventure. Pi becomes very upset when he realises that he will have to leave behind all the things that contribute to his happiness: the zoo, the love of his life and his country. He refuses to leave and tells his family that he is content where he is.

Phase 3 is to be seen later in the film, where Pi has a Supernatural Aid (a guide and protective figure to help him on his journey), namely his three religions which grow throughout the film, as well as the Bengal tiger, named Mr. Parker, all contributing to his only reason for being alive. Pi has to deal with this reality on his own. The Crossing of the First Threshold, phase 4, is the first obstacle the hero has to face on his adventure. Leaving India on the boat is a big obstacle that Pi struggles to accept and he starts crying as the boat sails away. The Belly of the Whale, phase 5, is the last of stage one. This is when the hero is placed in the unknown world and the cycle of metamorphosis begins. Pi is literally thrown in the deep end of the sea, the unknown, when the boat sinks.

Stage 2 is called the initiation. Phase 1 of this stage is the Road of Trials which contains numerous tests, trials and ordeals that the hero is confronted with (Winterbach, 2006). Pi has to overcome many elements that push him to his edge: the weather, storms, thirst, hunger, anger, religion and fear. Phase 2, Meeting with the Goddess, is defined as the moment where the hero is introduced to something or someone wonderful which tempts the hero to abandon his/her adventure. The island Pi discovers convinces him to stay there forever as it fulfils all his needs for food and water. This links to phase 3, Woman as the Temptress, because the food, water and shelter the island gives are the material possessions that will make Pi forget about where he belongs. He considers not going back to where he belongs. Phase 4, the Atonement of the Father, is when the hero is in conflict with who or what has power over him, which involves a response of his/her ego. Pi shouts at God in this phase when he has given up hope. Apotheosis, phase 5, is when the tiger, Pi’s fierce companion, becomes so weak that he is busy dying, which links to the definition of the supportive friend that gets injured. Phase 6, the Ultimate Boon, is defined as the great thing the hero achieves. There are two achievements in the film, namely when Pi tames Mr. Parker to such an extent that he can touch him and lay his head on his lap, as well as when Pi survives his 227 days at sea.