Review of The Movie Noah – It is a contemporary blockbuster with all the visual, auditory, and narrative flourishes we have come to expect from contemporary blockbusters, including flash-cut nightmares and hallucinations, prophecies and old wise men, predictions of the end of the world and the coming of a savior, computer-generated monsters with galumphing feet and deep voices, brawny men punching and stabbing each other, crowd scenes and floods, circling aerial views of enormous structures.
But hold on—this isn’t the most recent Marvel Comics saga. “Noah” more of a surrealist nightmare disaster picture combined with a fable of human greed and compassion, all of which are based on the most popular book of all time, the Bible, specifically the Book of Genesis. It is also not your normal messianic sci-fi movie like “Star Wars” or “The Matrix.”
The movie “Noah” is specifically Darren Aronofsky’s telling of the legend of Noah and the flood. He has changed a few things. More than a few, I guess. Much more. This is a revised version of the Book of Genesis.
Review of The Movie Noah
Aronofsky has included elements from prior films that told the story of Noah as well as myths and ideas from other religions and cultures, such as the Kabbalah, pre-Christian paganism, and, it would seem, J.R.R. Tolkien and “The Neverending Story.” And he has incorporated what viewers of long-form television shows or comic books may refer to as “callbacks” to earlier chapters of the Old Testament, such as the murder of Abel by his brother Cain, the passing of Noah’s paternal grandfather Lamech, and the expulsion of Adam and Eve from the Garden of Eden.
The most aesthetically imaginative part of the movie is an ellipsis in the main tale that tells the story of the creation of the universe in time-lapse fashion. It is essentially a Big Bang story that could inserted into either version of the popular scientific program “Cosmos.” Additionally, the multinational ensemble attempts to talk with an English accent, as this is Hollywood’s go-to method for expressing “foreignness” or “antiquity” without forcing viewers to read subtitles. All of the actors have lovely hair and tastefully manicured eyebrows, but Russell Crowe’s character Noah stands out for having teased-up hair in one scene that makes him resemble a beefier version of Christopher Walken from “The King of New York.”
The main character of this somewhat aquatic epic is still Noah
The main character of this somewhat aquatic epic is still Noah. However, he plays a more heroic role in this rendition. A threat to his own family, which includes Noah’s wife Naameh (Jennifer Connelly), his sons Shem (Douglas Booth), Ham (Logan Lerman), and Japheth (Leo McHugh Carroll), as well as Shem’s future wife Ila (Emma Watson), he changes once more when the flood levels rise. Noah adopted the latter when he was a little child. The inferiority complex Ila experiences as a result of her infertility is much discussed. She is incapable of having children and has a paranormal scar on her tummy. or so the story goes.
Later, when Ila finds herself in a 300x50x30 cubit ark with other animals protected by her adoptive father, including birds, mammals, reptiles, amphibians, and insects, her sterility becomes crucial. Before the deluge, God communicated with Noah through a series of enigmatic dreams that link the events of Genesis 6–9 to earlier chapters, rather than by a voice. The story continues as follows: After Eve succumbed to the serpent’s seduction and ate the forbidden fruit (from a tree that resembles the Tree of Life in Aronofsky’s “The Fountain”), Adam and Eve were expelled from the Garden.
The offspring of Cain and Abel fought one another. The Watchers a race of fallen angels or seraphim that were covered in hardened magma after they crashed to earth like shooting stars and left craters in the ground. These creatures now lumber across the landscape like Transformers or like the Ents from Peter Jackson’s “Rings” movies, grumbling and roaring and making pronouncements in the heavily-filtered voices of Nick Nolte and Frank La Russa.
Review of The Movie Noah
The Watchers are large and frightening and initially appear to be hurdles to Noah’s quest, but they soon change their minds and end up assisting Noah and his family in building the Ark to survive the deluge. After that, however, things are not all roses and butterflies since Noah has developed the idea that only animals should survive and that, in order to stop sinful humanity from upsetting The Creator once more after the flood, he would have to kill his wife, children, and himself.
And this is where things start to veer toward contemporary allegory. The 1928 silent film Noah’s Ark, which compares the flood (described as “A deluge of water drowning a world of lust”) to World War I (described as “A deluge of blood drowning a world of hate!”), is the last adaptation with anything like Aronofsky’s sociopolitical seriousness, as Time’s Richard Corliss notes in an excellent lengthy analysis of “Noah.”
Review of The Movie Noah
The movie by Aronofsky appears to have similar objectives but different worries. The story of “Noah” links God’s anger to human greed and the indiscriminate killing of the planet’s animal life, as well as to the destruction of the soil. (Noah and his family vegetarians who believe eating meat is a sin against God, who here simply referred to as “the Creator.”) The flood, graphically portrayed by Noah as “the waters of the earth meeting the waters of the sky,” represented as a sort of nautical panini press that squish the life out of the creatures of the earth between slices of screaming water.
In this biblical tale, water gurgles up from the ground, filling the broken dirt as blood wells in wounds rather than just falling and creeping toward the Ark. It occasionally erupts violently, like a geyser. The river pouring across the landscape from above makes me think of cancer. A stunning pullback reveals the atmosphere to littered with dozens of hurricane cloud whorls.
Review of The Movie Noah
A plotline from an action movie with obsessive antihero madness and fatherhood concerns has also incorporated by Aronofsky. He added Tubal-Cain, who Genesis calls “the forger of all instruments of bronze and iron,” the chieftain of Cain’s lineage, into the narrative. The antagonist is a warrior-despot who reflects Noah’s worst traits and tendencies, which is intriguing.
Tubal-Cain is a monster of sheer appetite and a super-macho figure, as played by Ray Winstone, who excels at portraying these kind of raging bull characters. He incorrectly spelled patriarchal as “patriarchal.” He believes that everyone and everything—including existence itself—exists for his benefit. Also he is the epitome of privilege and entitlement. He refrains from calling Noah a hippie or a tree-hugger but thinks his worries about the rape of nature are just girly-man whimpering. In the event that he cannot gain control of the Ark and load it with members of his own tribe, he is resolved to board it himself in order to survive the flood he earlier dismissed as a bogus prophecy.
He climbs aboard, and after Tubal-Cain and Noah are confined together, Tubal-Cain begins to peel off the clan’s disgruntled members and manipulate them just as the serpent did with Eve, while Noah loses all sense of morality and becomes a seafaring lunatic. In the depths of a floating Hotel Overlook, two evil fathers are harassing women and children. All of a sudden, the situation is reminiscent of a haunted house psychodrama. Noah’s mental instability causes him to resemble Tubal-Cain in appearance. By the time the two men exchange blows, Noah is struggling to control his own worst instincts in addition to the homicidal stowaway.