I guess the hokeyness of the Biblical epic film was just
waiting for a rebirth. We could count Mel Gibson’s The Passion of the Christ as the start of a new wave, but it’s more
torture porn than uplifting. When Darren Aronofsky decides to tackle a Bible
story, even when granted a mega-millions budget by a major studio, you have to
expect something a little beyond the ordinary, if not quite extraordinary.
In Noah,
Russell Crowe plays the Old Testament hero who saved all God’s creatures from
death in the Great Flood. Aronofsky’s screenplay, co-written by Ari Handel, has
more up its sleeve than the old films like The
Ten Commandments. There’s a slight tinge of modern environmentalism at work
here. The Creator, as the characters refer to Him, isn’t angry just at the
wickedness of men. Perhaps he’s also disturbed by the practice, hinted at by
Noah, of men eating animals. “They believe it gives them strength,” Noah
somberly explains to his son, Shem and Ham, when they are boys. Soon after,
he’s having visions of death beneath the water, of new life sprouting
instantaneously from a single raindrop.
As grown men, Shem and Ham are played by Douglas Booth
and Logan Lerman. Shem has a female companion in Ila (Emma Watson), a castaway
adopted by Noah as a little girl. But Ham is left waiting for companionship
once they start boarding the ark. Noah’s wife Naameh (Jennifer Connelly) plays
the dutiful subservient woman up until the moment when it looks lie Noah has
completely lost his mind while in thrall to fanatical ideology.
In this world, only partially pre-history, men are
divided into two factions: the good descendants of Seth (Adam and Eve’s lesser-known
third son) represented here only by Noah, his progeny, and his grandfather
Methusaleh (Anthony Hopkins), a kind of wise old sage living on a mountain by
himself; and those descended from Cain. They are the evils of man, led by
Tubal-Cain (Ray Winstone) and they far outnumber Noah’s family. They live in
great industrial cities, barely seen on the horizon of this dusty barren world
where the film resides. Aronofsky seems to be suggesting some connection
between Old Testament wrath of God stuff and the direction we’re heading in the
present day with climate change, and more and louder talk about sustainable
living. Are we in the 21st century merely repeating the mistakes
made by Cain’s descendants? Or was that chapter of Genesis a future prediction
more than a historical tale?
There’s plenty to ponder in this modern interpretation
and it’s clear that Aronofsky hasn’t lost his visionary touch, although you can
certainly feel the compromises that come with a $130 million budget. The
artistic freedom evident in Black Swan
has been greatly subdued by an executive’s need to recoup a large investment.
And to do that you need butts in seats. That problem is solved here, like it is
in every other blockbuster action extravaganza, with CGI creatures and an
absurd battle involving hundreds of anonymous deaths.
I don’t quite know what to make of The Watchers, these
fallen angels cast out by the Creator for aiding men after the expulsion, now
permanently cast in hard rock. They move a little like the bulky hulky transformers
and sound (voiced as they are by the digitally manipulated raspy vocal work of
Frank Langella and Nick Nolte) and fight like the Ents of The Lord of the Rings. They’re hokey and ridiculous, let’s be
honest about it, and they feel so oddly out of place in this Biblical epic
except that the screenplay needed a deus ex machine capable of helping Noah
defeat legions of attackers who want on his boat.
In the end, the self doubt Noah ahs, and his shift from
believing his family has been chosen for salvation to an understanding that he
was chosen only for his commitment to the task (as opposed to any inherent
goodness) is shoddy patchwork designed to appease the Aronofsky fans who want
something more from their blockbusters. I would have preferred a much darker
and more introspective tale that really digs into what it means to be the guy
who gets to watch humanity suffer.
Aronofsky and Handel are onto something interesting in
crafting an ambiguous time frame that could be part of pre-history, but that
has elements that hint at a new futuristic creation myth. I think they open the
doors to all kinds of inquisitive criticism and debate about our current place
in the world and how we view the Bible as either fact-based history or moral
teachings. Noah brings the Good Book
back around to what could be a useful tool for morals and values.
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