Noah, much like The Ten Commandments and Ben-Hur before it, is a visually astonishing tale, told with an unbiased agenda and complex, grounded performances. This is fantastic because I don’t think I could handle any more “Jesus loves you” movies. I get it, he’s the John Lennon of martyrs. You don’t need to beat him to a pulp to convince me.
It’s not that I hate religion. Religion did not kill my pappy and force me into a life of vigilante justice. I just don’t embrace it for the same reason I don’t embrace the departed TV show Lost: It seems like too big a commitment, too convoluted and gives me the feeling that no matter my interpretation, someone will always tell me I’m wrong. Life is simpler without, and director Darren Aronofsky agrees with me.
He tells the age-old tale of Noah as a myth (it is) that will please atheists everywhere. But, he does it in a way that will also satisfy hardcore Christians who believe this all happened.
For instance, it answers questions that plague the story like, “How would Noah and his small family build an Ark?” How did the animals not kill each other on board?” and “How did all the animals even fit on the boat?” The answer? Giant stone monsters helped them, a magic smoke that put the animals to sleep and because the boat is really, really big.
Religious fans are satisfied because it lets them say, “See! I told you!” but it also gives atheists enough ammo to say the same. Best of all, however, moviegoers feel the sound relief of tightened up plot holes. Everyone wins and we can all go out for ham.
The story, told in a fantasy-like style, is done with breathtaking imagery and effects only a true artist like Aronofsky can conjure. An Earth-consuming flood, people dangling on rocks trying to survive, and the phenomenal montage of the birth of the universe helps make the point that Creationism and Evolution theories could coexist. They paint a picture of resonant images straight from Biblical lore with a simplistic beauty that is a warm departure from explosions and Schwarzenegger’s face.
Most impressive in this rare film are the characters’ development and the conflicts that arise and thrive out of human interaction. Russell Crowe (Noah) brings a wise, yet intimidating presence to the role as the flawed hero, who in the end poses as the movie’s greatest villain. Once on the boat, he is driven mad by the same sense of purpose that led him to build the ark, single-handedly causing tension and turmoil on the crowded boat (If that doesn’t please atheists, I don’t know what will).
Some have criticized his interpretation, but would you rather have a whiny prophesy spewing bore or a badass, bald environmentalist? I thought so.
Jennifer Connolly co-stars as Noah’s wife, with Douglas Booth and Logan Lerman each tackling the roles of Noah’s sons. These supporting players are good too, each one struggling with his or her own problems dealing with Noah’s newfound purpose. Ray Winstone plays the last son of Cain. His band of degenerates is greatly needed before the real storm arises, resulting in some of the darkest, and quite violent, moments of the film.
But the standout-supporting role is Emma Watson as Ila. She shows more passion and conviction than ever as Noah’s daughter-in-law who must face his wrath when he tries to kill her newborn daughters, believing that all mankind including themselves must be punished. Talk about daddy-in-law issues.
At two hours (granted a little short compared to most biblical epics), this movie feels a little too long. It’s all-necessary, mind you, but building a boat is only so exciting. That aside, this story is told with enough complexity and beauty where it counts. It should please fans of well-made movies, atheists who think the Bible is just silly and Bible thumpers who think it’s anything but. And at the very least, it’s better than dealing with Mormon missionaries.
