“Life of Pi,” Yann Martel’s fantastical folk parable about faith and spirituality, makes the journey to the big screen more or less intact, a meditative Ang Lee film with many of the same virtues and shortcomings of the novel.

It’s a inscrutable morality tale for much of its length that explains itself, rather too overtly (like the novel) in the end, as if the author figures we need help jumping from inscrutable to scrutable. But its pleasures are undeniable and its mysteries rewarding to contemplate.

A survival-at-sea story is framed within the conversation of a frustrated novelist (Rafe Spall) who has been sent to meet a man (Irrfan Khan) who endured 227 days adrift in a lifeboat. Their meeting has been given quite the build-up. The novelist has been told this man’s tale is “a story that would make me believe in God.”

But Pi’s autobiography is too magical, far-fetched and “literary” to be believed.

Take the character’s name: an Indian boy, raised in a zoo, named “Piscine” after a favorite relative’s love of swimming pools. The precocious child endures profane teasing about his name just long enough to invent his own nickname. He is “Pi,” like that magical mathematical constant, and his way of making sure that the name sticks is one of the film’s funnier indulgences.

Pi grows up in 1950s India, a brilliant, curious child whose curiosity ranges from religions — he dabbles in Catholicism, Islam, Buddhism and Hinduism — to the animals in his father’s menagerie.

Pi is a committed vegetarian who reaches young adulthood only through the intervention of his no-nonsense father, a man who preaches that “religion is darkness” and warns against expecting to have a meeting of the minds with the zoo’s resident Bengal tiger — Richard Parker. The tiger would surely eat him, no matter how kind he is to it.

That is put to the test when the family sells the zoo and the ship they and the animals are on sinks in the deepest corner of the Pacific. Pi (Suraj Sharma) finds himself on the lone lifeboat, stranded with an injured zebra, a mourning orangutan, a crazed hyena — and Richard Parker.

Lee manages to make this odd ark convincing, thanks to a seamless blending of real animals and digitally tamed ones. The boat is just big enough to hide most of its inhabitants long enough for each to make an entrance. And there is just enough gear — food, water, life jackets — for Pi to keep his distance from the two critters who will surely kill him when starvation sets in.

Special effects render the barren, glassy sea into a dreamland of illuminated jellyfish, serendipitous flying fish, overly playful whales, sharks that are scarier than the tiger and just enough food to keep the boy alive and to keep the peace with the tiger. No matter how dire circumstances turn, Lee finds playful and mystical touches to animate a fairly static story.

Still, the cryptic, spiritual nature of the story — the metaphorical treatment of faith — blesses “Pi” with at least a hint of the vision-quest gravitas that the character, the author and the filmmaker were going for.