Noah
Directed by: Darren Aronofsky
Written by: Darren Aronofsky, Ari Handel
Starring: Russell Crowe, Jennifer Connelly, Ray Winstone, Anthony Hopkins, Emma Watson, Logan Lerman, Douglas Booth, Nick Nolte, Mark Margolis, Kevin Durand, Leo McHugh Carroll, Marton Csokas, Finn Wittrock, Madison Davenport, Gavin Casalegno, Nolan Gross, Skylar Burke, Dakota Goyo
Adventure/Drama - 138 min
Written by: Darren Aronofsky, Ari Handel
Starring: Russell Crowe, Jennifer Connelly, Ray Winstone, Anthony Hopkins, Emma Watson, Logan Lerman, Douglas Booth, Nick Nolte, Mark Margolis, Kevin Durand, Leo McHugh Carroll, Marton Csokas, Finn Wittrock, Madison Davenport, Gavin Casalegno, Nolan Gross, Skylar Burke, Dakota Goyo
Adventure/Drama - 138 min
The story of Noah, the ark, and the flood is actually quite short in the Book of Genesis. The fourth story after the creation, original sin, and Cain and Abel, Noah is open to interpretation because there is almost no detail, just some declarative sentences concerning man’s wickedness, nautical construction, and animals marching. Biblical literalists be warned; director Darren Aronofsky fills in the gaps.
Aronofsky’s vision presents a solitary man. Noah (Russell Crowe, 2013's Man of Steel) descends from Seth, a lineage of virtuous and wise men. The rest of humanity descends from Cain; they scavenge the Earth, kill one another, and appear happy to do so. Noah is not hundreds of years old as the Old Testament proclaims either; he is strong as an ox and can adeptly handle multiple attackers at the same time to protect his family. Noah is not an action hero seeking conflict, but when it comes time to fight, I want Noah on my side.
You have no doubt heard at least some of the uproar concerning this new biblical epic. Multiple Muslim countries banned it, evangelical literalists deem it blasphemous for daring to make it interesting, and I assume there will be more controversy once the screeching rabble takes the time to see it for Noah also preaches the merits of environmentalism and veganism, two isms some folks do not take very kindly to. Look past the misleading headlines though and there are some visuals here to explore.
I say some visuals because while Aronofsky portrays biblical Canaan as an intriguing barren wasteland reminiscent of post-apocalyptic Mad Max films, there are some problems with the CGI. Every animal you see, the flood, and just about every other scene are computer generated. The animals and flood visuals are top notch. Yet there are some creatures deliberately deleted from the previews, even from scenes the previews explicitly show. These are the rock monsters, actually fallen angels of light now turned to hideous, craggy rock formations. They look ridiculous, move grotesquely, and are not believable additions for one second.
Moving past this specific mistake, the human cast is effective; these are flesh and blood people you can emotionally connect with past the stale Bible versions they are derived from. Russell Crowe is a man determined to carry out the will of his Creator, no matter the sacrifice, and his wife Naameh (Jennifer Connelly, 2014's Winter's Tale) steadfastly follows him even when she pleads with him to show mercy and love. Anthony Hopkins (2012's Hitchcock) shows up as Methuselah in one of those small roles he breezes in and out of sometimes as in Alexander (2004) and Mission: Impossible II (2000). As for the rest, villain Ray Winstone as Cain’s descendant is menacingly convincing and Emma Watson (2013's The Bling Ring) as Ila, a character created by Aronofsky, is noticeably strong.
Noah’s three sons are also present, especially middle child Ham (Logan Lerman, 2012's The Perks of Being A Wallflower) who is far more front and center than you want him to be. While the family focuses on building a gigantic boat and doing their utmost to survive, Ham just wants to check out the females and create unnecessary drama where it does not need to be. The script benefits from father/son conflict, but Aronofsky added way too much pepper to the recipe.
Aronofsky also took the story too far. If the film ended at the flood when the ark starts floating, I would be telling you right now to go and see it. Yet Aronofsky chose to press ahead and squeezes a 90-minute story into a 138-minute film. You will not like Noah the man once the ark doors close. We also get a boatload more of Ham’s presence; pardon the pun.
Solid editing may have saved Noah. The rock monster/angel things may have worked with a trip back to the drawing board, the Ham subplot can easily lose 10-15 minutes, and all involved would best forget mid-flood Noah. There are elements here to enjoy, especially a proven director’s vision of a biblical tale frequently skipped over by Hollywood producers eager to film easier sections of the Bible. Aronofsky has been great before; films such as The Wrestler (2008) and Black Swan (2010) are intimate and dramatic portraits of complex characters and I have no doubt he will great again. However, Noah comes across as a passion project that only he can summon the requisite excitement for; he leaves the audience behind.
Aronofsky’s vision presents a solitary man. Noah (Russell Crowe, 2013's Man of Steel) descends from Seth, a lineage of virtuous and wise men. The rest of humanity descends from Cain; they scavenge the Earth, kill one another, and appear happy to do so. Noah is not hundreds of years old as the Old Testament proclaims either; he is strong as an ox and can adeptly handle multiple attackers at the same time to protect his family. Noah is not an action hero seeking conflict, but when it comes time to fight, I want Noah on my side.
You have no doubt heard at least some of the uproar concerning this new biblical epic. Multiple Muslim countries banned it, evangelical literalists deem it blasphemous for daring to make it interesting, and I assume there will be more controversy once the screeching rabble takes the time to see it for Noah also preaches the merits of environmentalism and veganism, two isms some folks do not take very kindly to. Look past the misleading headlines though and there are some visuals here to explore.
I say some visuals because while Aronofsky portrays biblical Canaan as an intriguing barren wasteland reminiscent of post-apocalyptic Mad Max films, there are some problems with the CGI. Every animal you see, the flood, and just about every other scene are computer generated. The animals and flood visuals are top notch. Yet there are some creatures deliberately deleted from the previews, even from scenes the previews explicitly show. These are the rock monsters, actually fallen angels of light now turned to hideous, craggy rock formations. They look ridiculous, move grotesquely, and are not believable additions for one second.
Moving past this specific mistake, the human cast is effective; these are flesh and blood people you can emotionally connect with past the stale Bible versions they are derived from. Russell Crowe is a man determined to carry out the will of his Creator, no matter the sacrifice, and his wife Naameh (Jennifer Connelly, 2014's Winter's Tale) steadfastly follows him even when she pleads with him to show mercy and love. Anthony Hopkins (2012's Hitchcock) shows up as Methuselah in one of those small roles he breezes in and out of sometimes as in Alexander (2004) and Mission: Impossible II (2000). As for the rest, villain Ray Winstone as Cain’s descendant is menacingly convincing and Emma Watson (2013's The Bling Ring) as Ila, a character created by Aronofsky, is noticeably strong.
Noah’s three sons are also present, especially middle child Ham (Logan Lerman, 2012's The Perks of Being A Wallflower) who is far more front and center than you want him to be. While the family focuses on building a gigantic boat and doing their utmost to survive, Ham just wants to check out the females and create unnecessary drama where it does not need to be. The script benefits from father/son conflict, but Aronofsky added way too much pepper to the recipe.
Aronofsky also took the story too far. If the film ended at the flood when the ark starts floating, I would be telling you right now to go and see it. Yet Aronofsky chose to press ahead and squeezes a 90-minute story into a 138-minute film. You will not like Noah the man once the ark doors close. We also get a boatload more of Ham’s presence; pardon the pun.
Solid editing may have saved Noah. The rock monster/angel things may have worked with a trip back to the drawing board, the Ham subplot can easily lose 10-15 minutes, and all involved would best forget mid-flood Noah. There are elements here to enjoy, especially a proven director’s vision of a biblical tale frequently skipped over by Hollywood producers eager to film easier sections of the Bible. Aronofsky has been great before; films such as The Wrestler (2008) and Black Swan (2010) are intimate and dramatic portraits of complex characters and I have no doubt he will great again. However, Noah comes across as a passion project that only he can summon the requisite excitement for; he leaves the audience behind.
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