The Lord saw how great the wickedness of the human race had become on the
earth, and that every inclination of the thoughts of the human heart was only
evil all the time. The Lord regretted that he had made human beings on the earth, and his heart
was deeply troubled. So the Lord said, “I will wipe from the face of the earth the human race I have
created—and with them the animals, the birds and the creatures that move along
the ground—for I regret that I have made them.” But Noah found favor in the eyes of the Lord. – Genesis 6:5-8
Director Darren
Aronofsky has called Noah "the
least biblical 'biblical movie' ever". There's definitely truth to this,
as the film doesn't depict your typical flood-ark-Noah-restart story. Costing
$125 million and spanning nearly two and a half hours, Noah is an epic. And Aronofsky's take on Noah and exploration of
the character's obsession (and burden) will catch many off guard.
At the opening of the film we find a young Noah caught up in the violence of the age (which we are shown through the storyteller's retelling of what happened in the Garden of Eden: creation, temptation, 'the fall' and Cain murdering Abel). Immediately, we find ourselves thrusted into the story and the life of Noah. As the boy's father is murdered for daring to follow the ways of Seth, the powerful themes of injustice and good versus evil surface. The dark, depressing tone of the film is also cast, soon to intertwine with the obsessive character of Noah (Russell Crowe) and his oppressive creator. Bigger questions also arise, such as whether "the Creator" (the word 'God' is never used) will bring justice and triumph over evil, whether the Creator has abandoned mankind, and whether Noah's beliefs and actions are just.
As Noah's wife and sons try and keep up with the patriarch's distressed existence, while they scramble across the Eden-less landscape, issues arise surrounding Noah's relationship with the Creator. In the biblical narrative Noah is approached and spoken to by God. (God creates a covenant between himself and Noah. This covenant runs through to Christ, but is removed from the film.) Aronofsky and co-writer Ari Handel create Noah's manic obsession by removing Noah and God's dialogue and the covenant. Taking the place of this dialogue are vivid and frightening dreams about the destruction (and flooding!) of mankind. Experiencing the dreams firsthand with Noah allows us to feel Noah's pain and his burden. This is a real strength of the film, that we can connect, feel and engage, rather than sit back, scoff and judge.
The setting (much of the film was set in the wondrous lands of Iceland) gives the film a desolate and apocalyptic feel (think a biblical Mad Max). The barren land and wide shots help to emphasise the destruction mankind has wreaked and the distress the “innocent” feel. However, the Tolkienesque Watchers remove us from this state of wonder and make us think about what these... things remind us of. (I saw some Tree Beard, Rock Giants, Notre Dame Gargoyles and Transformers in these "fallen angels".) And other than convenient helpers to build the ark - and an action scene waiting to happen - what do these angelic-Ents offer? Their final battle scene, against the violent men of earth (for control of the ark), is exhilarating, fast paced and everything you could want in a Hollywood blockbuster. Yet, it is interesting to note that they don't appear in the trailer, likely to avoid pushing orthodox Christian audiences away. But there's something too formulaic, archetypal even, about these rock warriors. If Aronofsky is trying to take a different approach in making Noah, then these Watchers are distractions.
Environmentalist rage is poured on thick in Noah. It's pro-vegetarianism - there's a memorable line delivered when Noah tells his son that man eats meat because they have forgotten that "strength comes from the creator" - and all about sustainability and protecting creation. I would even say the film goes as far as to question the killing of animals and what our consumption reveals about mankind. The animals don't feature for long in this exhaustive film, though. In the 1966 film The Bible, Noah (John Huston) talks and relates to the animals. When the animals do eventually board the ark, it's peaceful, systematic and simple. Clearly, the animals are a fair bit more civilised than mankind, who rapes, pillages and kills in the name of self-interest. However, the animals are often unrecognisable (shall we put that down to evolution?) and the heavy CGI keeps us from really enjoying their presence. The ark, however, is a tremendous sight to behold, rebuking the dainty, weak ark we often construct in our minds. It's incredible to witness the rain come down and spark the ark into action. With that said, how does Tubal-Cain (a familiarly sinister Ray Winstone) manage to break into the ark and not cause a Titanic effect?
The most inventive scene in the film isn't found in the Watchers, or in the building or defending of the ark, but in the side story Noah tells his wife and children about creation and man's fall. It's a flashback scene which links evolution and the creation story. (I wondered at this point if Richard Dawkins would rage against the filmmaker.) Through a flashback, which follows the evolution of animals and creation, we are shown, rather than just being told, how mankind abandoned the Creator and set about destroying all that is good.
The casting of Noah and his wife Naaham had to hit the mark. The movie crumbles without an intense Noah and a strong Naaham. Crowe brings his grizzly beard (and attitude) to the proceedings, always a high point; and throughout is able to draw us in. What's also interesting is Noah's turn: his transformation into the anti-hero. Sure, he's no Tubal-Cain - who wastes no time to grabbing monologue moments to preach his pro-killing and meat eating views - but Noah goes from being righteous to doubtful and even mad. It's a brilliant move and daring to cast the patriarch in this darkness. It makes us wonder about the toll this “plan” would have had on Noah and the survivor's guilt they all would've felt.
Equally as daring is Connelly's emotional portrayal of a beleaguered and tested wife and mother. Battling between Noah's rage and her children's desire, Connelly delivers a moment of lip quivering power when she stands up and challenges Noah during the
Less powerful and complimentary is Anthony Hopkins's mumbling Yoda-esque role as Methuselah. Hopkins has perplexed me over the past few years, with his role in Marvel's Thor causing me to question whether the seasoned actor has lost the (acting) plot. Maybe he is better off picking berries?
There’s darkness in this film which surpasses what we witnessed in Mel Gibson’s The Passion of the Christ (2004). Whereas, in Gibson’s film there is hope to be found in the saviour, God appears to offer Noah nothing but torture, and there is no hope (or covenant) underlying the plan. This darkness is perhaps best captured in the screams of those who were drowning outside the ark. Nothing will prepare audiences for the painstaking moment when the film cuts to a shot of a mass of people trying to climb a rock cliff to avoid drowning. It’s the most evocative image in a movie which doesn’t hold back.
Perhaps it's best to reflect on the themes and larger questions behind Noah rather than the film itself. I went in expecting an obsession-fest, it's an Aronofsky mainstay and something I always enjoy, but the environmental message and theme of injustice are also worth thinking about. Perhaps more of a thinking man's success than a visual success, Noah is daring to re-evaluate and reflect on what can be described as a troubling story. There were points when I felt at arm’s length from Noah, but it's definitely worth a watch... and a chat.
7/10
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