This sense of marvel is also revealed in Joe Morgenstern’s review Visionary “A Director’s Sumptuous posted in Morgenstern claims that ‘Pi’” The Wall Street Journal. what makes the unforgettable impression on us is the spectacle of the CGI technology in producing breath-taking natural sceneries. He states that Lee has the visual “rethought essence of water”, affirming that what he and his cinematographer Claudio Miranda have done with water, especially in its static glassy states living creatures in a “suspends state of ecstatic grace”. (Morgestern). This distinctive re-visioning of the aquatic ‘visual essence’ in the film through high technology is further stressed in R. Kurt Osenlund’s review posted in the Osenlund believes that water is an essential Slant Magazine. element in the film that is rendered’ and Pi the main human character ‘gloriously becomes a mere in an unforgiving eternity’. He remarks that Lee skilfully ‘minnow shifts from one aquatic mood to another. For instance, the enormity’ of the ‘frightening image of the sinking of the Tsimtsum is by the cool serenity of calm waters, “matched which, through Lee’s lens, meet the sky to create a seamless, dreamlike canvas,” (Osenlund). Another real astonishing element in the use of CGI technology from the of view of many critics is the creation of CGI animals particularly Richard Parker. Beatrice Marovich in her review Superhuman Spirituality: Ang Lee’s “A Life of Pi” posted in the profit magazine Religion Dispatch cannot hide her astonishment and wonder of the menagerie of animals Lee creates and what impact they transfer to the viewers. She argues that
This sense of marvel is also revealed in Joe Morgenstern’s review “A Visionary Director’s Sumptuous ‘Pi’” posted in The Wall Street Journal. Morgenstern claims that what makes the unforgettable impression on us is the spectacle of the CGI technology in producing breath-taking natural sceneries. He states that Lee has “rethought the visual essence of water”, affirming that what he and his cinematographer Claudio Miranda have done with water, especially in its static glassy states “suspends living creatures in a state of ecstatic grace”. (Morgestern). This distinctive re-visioning of the aquatic ‘visual essence’ in the film through high technology is further stressed in R. Kurt Osenlund’s review posted in the Slant Magazine. Osenlund believes that water is an essential element in the film that is ‘gloriously rendered’ and Pi the main human character becomes a mere ‘minnow in an unforgiving eternity’. He remarks that Lee skilfully shifts from one aquatic mood to another. For instance, the ‘frightening enormity’ of the image of the sinking of the Tsimtsum is “matched by the cool serenity of calm waters, which, through Lee’s lens, meet the sky to create a seamless, dreamlike canvas,” (Osenlund). Another real astonishing element in the use of CGI technology from the of view of many critics is the creation of CGI animals particularly Richard Parker. Beatrice Marovich in her review “A Superhuman Spirituality: Ang Lee’s Life of Pi” posted in the profit magazine Religion Dispatch cannot hide her astonishment and wonder of the menagerie of animals Lee creates and what impact they transfer to the viewers. She argues that
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