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In the beginning, even before a brisk recap of the Creation, Darren Aronofsky's "Noah" fills the screen with a disclaimer noting that "artistic license has been taken." It certainly has. This is a daring venture in mainstream entertainment, and mostly an enthralling one, despite some problematic patches. The film is revisionist, to be sure; we've never seen a Noah like the hero played so fiercely by Russell Crowe.
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But it's visionist as well, an action spectacular with a provocative vision—the story of Noah's ark as a vessel for lots more than animal husbandry in the face of apocalypse.Ferocity is the last quality one would ascribe to previous Noahs on the screen. Until now the watchword has been earnestness, and the dominant portrait has remained John Huston's performance in a movie he directed almost half a century ago—"The Bible: In the Beginning." Mr. Huston's Noah was a good man, but something of a simpleton and a bit of a clown with a cockeyed smile and a Popeye squint. (Pauline Kael called the movie agnostic.) As soon as Noah got his orders from the Lord he set to work, no questions asked, and built a sort of McHouseboat—big, for an ark, but hardly big enough for all the animals filing aboard in a cheerful processional that could have set the stage for "Doctor Dolittle."
The current Noah doesn't smile easily. A wary survivor in a cruel, sere land, he protects his wife and sons as best he can from the perils of a world that has fallen into chaos since the Fall of Man. Commanded to build an ark, he rises to the challenge. (The film comes up with a beautifully inventive source of lumber, and provides heavy-lifting labor in the form of Watchers, about whom more, unfortunately, will be said below.) And he's fine with the passenger list, as far as it goes.(Download Noah) Innocent animals, two by two? This Noah, as written by Mr. Aronofsky and Ari Handel, accepts their innocence and welcomes them aboard. When it comes to humanity, though—to the hordes of desperate humans struggling to save themselves from the flood in a sequence suggestive of Hieronymus Bosch—Noah draws the line, and ruthlessly. Saving the innocent means only the animals: "Men are going to be punished for what they've done to this world."
A good man at heart, Noah has been maddened into misanthropy by the evil he has seen in his fellow man. He is, in unminced words and Mr. Crowe's adamantine presence, a zealot, a strict constructionist, quite literally a creationist who won't swerve from what he believes he's been told.(Download Noah) The movie may well be punished in some quarters for the darkness of this concept; it has already been ridiculed by Glenn Beck as "pro-animal" and "strongly antihuman." The first comment is right on the money. This Noah is a deep-dyed conservationist, as any Noah would have to be when confronted by a mass extinction that he's been chosen to prevent. But antihuman? That's a reductionist reading of a film willing and able to dramatize—with irony-free urgency—questions of good and evil that are fundamental to religious thought.The personification of evil in this extravagant morality play is Tubal-cain, a descendant of Cain, mankind's first murderer.
Although he is mentioned in the Book of Genesis, his presence here is one of many inventions that come under the artistic-license rubric. As portrayed by Ray Winstone, Tubal-cain is fully equal to the role of Noah's nemesis; he looms much larger, and longer, than one might suppose from what's already known of the plot.In fact, the antagonism between the two men plays out with such intensity that our sympathy starts to shift at one point—from Noah, who seems to be a permanent prisoner of his own rage, to Tubal-cain, who still believes in God, but feels abandoned by Him.(Download Noah) It shifts back, though. However pitiless Noah has become, he remains a soul in progress, and the film gambles on its star being able to preserve the hero's humanity without softening his fury. In doing just that, Mr. Crowe achieves something close to an acting miracle.If only the special-effects people had followed suit. We often take for granted the modern miracles of digital technology, but the Watchers, giant apparitions built of bits and bytes, are dangerously gigglesome.
As conceived, they are fanciful versions of fallen angels, the Nephilim mentioned glancingly in the Bible. As depicted, they are anguishingly misshapen creatures with basso voices, trapped in stony shells and—though you do keep watching them—a folly of considerable proportions,(Download Noah) since they look like refugees from some hoary horror film. Getting this production on the screen must have been a monumentally difficult enterprise, if only for the schism between its indie spirit and studio budget, and it shows—in occasional narrative disconnections, uncertain humor (Anthony Hopkins as Methuselah, obsessed with foraging for berries) and moments of inaudible dialogue.Yet "Noah" combines audacity, intelligence and spectacle in ways that often do seem monumental. (The cinematographer was Matthew Libatique. The production designer was Mark Friedberg. Michael Wilkinson designed the ancient-chic costumes.
Clint Mansell composed the music.) Jennifer Connelly is superb as Noah's wife, who's called Naameh though she is nameless in the Bible; Naameh believes man is good, and Ms. Connelly makes an impassioned case for her belief.Logan Lerman and Douglas Booth, both of them young and handsome, are, respectively, Noah's sons Ham and Shem. Emma Watson is poignantly appealing as Ila, an orphan, adopted by Noah,(Download Noah) who plays a pivotal role in momentous family battles that come to a crescendo on the ark.I saw the film on a conventional screen—that is to say, on a big one, but not in the IMAX format many theaters will be offering. All the same, the imagery was sumptuous: Cain killing Abel in silhouette; a flower blooming, unbidden, from the desert floor; Noah's nightmares of drowning; his visions of submergence in oceans swirling with life; the vast, squarish ark turned into a vertiginous zoo (wait till you see how all those animals are cared for) and, of course, the climactic voyage on the highest of high seas.
"Noah" can be silly or sublime, but it's never less than fascinating. I was on board from start to finish.For at least the first half of Darren Aronofsky's expensive, splashy (cough) adaptation of the Biblical story of Noah's Ark, the preemptive "artistic license has been taken" disclaimer added to some trailers and posters almost seems sensible. Aronofsky very early on establishes his Book of Genesis as a patchwork of astrological mysticism interconnected with a fascination in the progress of lineage itself, very much in line with his open-hearted maudit The Fountain.(Download Noah) Here, Biblical narrative as the origin of human history intermingles with scriptural interpretation as a form of literary criticism. The resulting leaps of fantasy—such as the depiction of fallen angels as a band of massive, lumbering, stone-encased hulks known as the Watchers—may be irrefutably free of malice. But try telling that to a demographic trained to object to anything that walks the line between apocrypha and reportage—the people who need the crusts cut off of their white bread sandwiches.
Disappointingly for the rest of us, Noah offers them the last word.Noah (Russell Crowe, playing 500, but looking not a day over 230) is the last remaining thread of the ancestral line extending down from Seth, the ecological Jonathan Livingston Seagull counterpart to the metallurgical Earth-devouring proto-corporation of Cain. Noah's vegan clan dwells under the radar in volcano-scorched outskirts,(Download Noah) until their patriarch starts having visions of blood seeping from the bedrock and the waters of the Earth reaching to meet the sky. They traverse into claimed territory to draw on the wisdom of Noah's grandfather, Methuselah (played by Anthony Hopkins as a berry-obsessed locavore), but his tealeaves offer cold comfort. The Creator is discouraged by the barbarity of humans, and plans to hit the reset button. (It's a missed opportunity on the Paramount publicity team's behalf not to tag this film The Greatest Reboot Ever Told.) God's plan bids Noah to build an ark large enough to hold two of every animal, which might seem confounding for any plan intent on wiping the slate clean.
But once the money shots of Aronofsky's version recede, it becomes ever more clear that his intention is to tackle the capriciousness of Old Testament logic. And, ultimately, to assent to it.But up until the heavens fall and columns of ocean spray up from the ground surrounding Noah's ark, the whole spectacle carries on with Cecil B. DeMille's sense of showmanship along with the same sense of jagged reverence to scripture that linked the numerology of the Torah with NIN music video-worthy scenes of power drill-assisted bathroom surgery in Pi. (On a related note,(Download Noah) it's nice to know that the image of a CGI lamb pulled apart by a frenzied mob can still earn a PG-13 rating so long as the rest of the movie retains potential as a future Sunday-school staple.) Beyond the destruction porn, though, Aronofsky's alternately earthy and lurid images—or, if you prefer, sacred and profane—reach their climax during a sequence depicting Noah telling his sons the opening verses of the Bible, paired against a time-accelerated montage literalizing the days-as-epochs evolutionary process by which phagocytosis led to new phylums, culminating in a dramatic pullback to show the entire Earth enveloped by hundreds of cyclones.
Noah's new-age overtures work well enough that it's a shame, no matter how predictable and true to the film's message, to see it fall off into formal and spiritual asceticism as Noah wrestles with his belief that the human race is meant to die out with his youngest son—a deduction that pleases neither his wifeless-and-horny middle son,(Download Noah) Ham (Logan Lerman), nor his formerly barren but now miraculously pregnant daughter-in-law, Ila (Emma Watson, who gets to go full Laura Dern cry-face at Noah's promise to kill her baby should it be a girl). In the Book of Genesis, Ham is cast away after he "looks upon" his father's nakedness (a term that scholars have bent over backward to justify in the least perverse terms). In Noah, he just walks away while the rest of his rainbow-beholding family fails to comprehend the generations upon generations of incest it will take to repopulate the world.
To put far too fine a point on it, if the gnarly mercilessness of the Old Testament gave way to the revolutionary altruism of the New Testament, Noah's trajectory works in reverse, regressing from a new school full-bloom blockbuster teeming with the thrill of divine destruction and implied kink into a grounded reaffirmation of the genre's stodgy rules as they were written at Charlton Heston's flank.I thought you were good. I thought that's why he chose you."So says one of Noah's sons to his father, who is unwavering in his faith and devotion, to the point of murder, (Download Noah) if it comes to that.Noah's reply: "He chose me because he knew I would finish the job, nothing more."Those words set the tone in Darren Aronofsky's sprawling, compelling "Noah." Noah, played by a bulked-up Russell Crowe, in this telling is a man with a massive job to do. Is it a literal interpretation of the biblical story? No. Nor does it have to be. We see through the course of the film what blind devotion brings upon someone and the importance of forgiveness and love in the equation.Sounds like the kind of thing a person of faith might find valuable.
Yet many Christian (and Muslim) groups have denounced the film. My advice: See it first; then decide whether it's worthy. You're likely to find that it is.Nothing if not ambitious, Aronofsky begins the film with a quick run-through of the creation, through Adam and Eve and the forbidden fruit, and Cain and Abel. The visuals are saturated with color, giving it a sort of overheated dreamlike feel.(Download Noah) Now, 10 generations after the Garden of Eden, Noah and his family live in a barren wilderness rife with savages who roam the countryside, killing and eating animals (something Noah forbids his family to do) and killing the occasional person, while they're at it.In a dream, Noah sees the earth destroyed by water, so he surmises that the creator — the word "God" is never mentioned in the film, but so worshipful is Noah that it hardly matters — is going to flood the world and destroy all life upon it. He also intuits that he is to build an ark to house all the beasts of the field, birds of the sky, etc.This you probably know. Most civilizations, including those that predate the writing of the Bible, have a flood story.
Here the wicked humans are the survivors of Cain, so they are murderous, having turned against the creator. Noah and his family are descendants of Seth, another son of Adam and Eve. Thus they are chosen to survive and start anew.Or so we think.Noah enlists the help of rock giants that are essentially fallen angels, and yes, they look like rock giants from a "Hobbit" movie or something. But without them, the building of the massive ark just by Noah and his sons would be impossible.(Watch Noah Online HD , HQ) They also aid in keeping the savages, led by Tubal-cain (Ray Winstone), at bay. Tubal-cain believes man is superior to animals, so he wants to kill Noah and his family and take the animals along as more or less an all-you-can-eat buffet.Again, Aronofsky dives into territory that isn't strictly scripture-based. There is also the matter of how Noah's family will repopulate the earth. They have adopted Ila (Emma Watson), who becomes the wife of Shem (Douglas Booth). But an injury has left her barren, and Ham (Logan Lerman) and Japeth (Leo McHugh Carroll) are without any prospects, given that humanity is about to be destroyed.Don't worry, Noah says in what is a familiar refrain: Has the creator not always given us what we need?Again, this is faith-based thought, based on trust.
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Where things go a little haywire is when Noah visits Tubal-cain's village, which has descended into a free-for-all of murderous mayhem. He was looking for potential wives for his other sons but leaves disgusted with all of mankind, including himself.This is the end, he decides. His family will protect the animals, see that they're delivered safely to land and then live out their days until they,(Without Downloading Watch Movies Online) and all of humanity, die. Noah becomes obsessed with this idea, to the point of potentially doing his family harm.And yet, although this deviates greatly from the popular conception of Noah, it also allows room for forgiveness and redemption.Some of the CGI effects come off a little cheesy (there are an awful lot of animals of all kinds to be loaded on-board, after all), but much of the film is visually stunning, with creative takes on such familiar themes as violence begetting violence.Taken strictly as a piece of filmmaking, Aranofsky's "Noah" is ambitious. And as theology, well, it may not hew exactly to the letter of the law, but the spirit survives intact.
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