Darren Aronofsky takes a very different approach to the Biblical epic in Noah (Paramount, Blu-ray, DVD, VOD) a film both earthy and mystical. This isn’t the Old Testament prehistory we’ve seen before—Aronofsky draws from both Christian and Jewish religious texts to fill out the story (which is actually quite short in the Bible) and offers bleak, poisoned world before the flood quite different from the Mediterranean deserts and forests of previous films—and it accomplishes something quite powerful, vivid and unexpected as a result.
Russell Crowe is Noah as God’s moral man, the last of the faithful who lives his life as Earth’s steward. He keeps his family (wife Jennifer Connelly, sons Logan Lerman and Douglas Booth, daughter-in-law Emma Watson) away from Cain’s offspring (Ray Winstone as a brutal tribal warlord) and the despoilers of the Earth. The creator (as God is called throughout the film) doesn’t speak in the dramatic voice so familiar to other films. He communicates through visions and they are violent, confusing things that Noah must take on faith. Noah undertakes his task as a solemn duty, helped by a race of rock-like beings who were once angels that were cast out of heaven and anchored to Earth.
Ancient mythology and modern cosmology come together in the story of Genesis, told in Noah’s own words and illustrated with imagery reminiscent of Cosmos, a wedding science and religion in a way respectful of both. Even the Ark itself looks different than we’re used to, which is curious considering it is designed according to the dimensions specified in the Bible (see the infographic below for details on scaling the ark, the flood and other details). It’s an epic canvas for a human story and Aronofsky shows great respect for the faith of the source while taking a creative approach to dramatizing the story and the world.
On Blu-ray and DVD. Aronosky shot much of the film in Iceland to get that barren, blasted landscape and he explores the location in the featurette “Iceland: Extreme Beauty.” It’s exclusive to the Blu-ray editions of the film, as are two addition featurettes: “The Ark Exterior: A Battle for 300 Cubits” and “The Ark Interior: Animals Two By Two.” The Blu-ray also features bonus DVD and UltraViolet digital copies of the film.
The new movie Noah, director Darren Aronofsky’s $130 million epic retelling of the story of Noah’s Ark and the Great Flood, carries this advisory: “While artistic license has been taken, we believe that this film is true to the essence, values and integrity of a story that is a cornerstone of faith for millions of people worldwide.”
Noah has been banned in some Middle Eastern countries, and attacked by some Christian critics for taking liberties with scripture. Aronofksy told the New Yorker that “Noah” is “the least biblical biblical film ever made,” hardly the kind of comment to calm the faithful
Fair disclaimer, but it’s likely not one that will reach all filmgoers who see “Noah” with the expectation that the Aronofsky’s version will closely mirror the biblical series of events. For a little scriptural background and film fact-checking, Steven D. Greydanus, a film critic for the National Catholic Register and his own website, Decent Films, and a Bible student at the Archdiocese of Newark viewed the film before its release. The experts’ general verdict: there’s a lot that closely mimics the epic story, but some liberties are taken. Warning: Spoilers for the film obviously follow.
Is the word God missing from the film as some critics have charged?
No, says Greydanus. “For the most part, God is referred to in the film as ‘the Creator’ and this is a creative choice that I think does a lot for the film. It helps to defamiliarize the language somewhat, it makes the figure of God a little more mysterious to us.” But His name is clearly spoken when Ham, second son of Noah, says to Tubal-cain: “My father says there can be no king. The Creator is God.”
Black Swan is a delirious, practically giddy thriller that flirts with the metaphysical even while it relentlessly ratchets up its prime directive, which is to be a nonstop audience stress test,” wrote MSN critic Glenn Kenny when the film opened in 2010.
It quickly became a polarizing film for film critics, many embracing the Red Shoes meets Repulsion psychological portrait of neurosis and obsession in a meek, repressed young woman (Natalie Portman) who still has little girl prima ballerina dreams, others critical of the melodrama, hysteria and blunt metaphors (“high-grade hokum,” as one critic called it). The mix of culture and kinky psychodrama brought in audiences and earned Natalie Portman an Academy Award for her lead performance as woman/child still living under the suffocating attentions of her mother (Barbara Hershey), one of the Oscar nominations it earned in all.
Nina (Portman), a longtime member of the New York City Ballet company, begins her spiral in obsession, hallucination and sexual awakening (despite her protestations, she’s almost surely still a virgin) when she’s cast to play the twin roles of the White Swan and the Black Swan in a new production and the perfectionist is challenged to drop her control and let her passions pour out. Vincent Cassel plays the company director who uses seduction as a tool to draw out his dancers (or maybe he’s just an oily manipulator) and Mila Kunis is the newest dancer, a free spirit whose passion makes up for her technical limitations. Nina starts to see paranoid plots and dark doppelgangers in every mirror (and there are mirrors everywhere, not to admire oneself but to reveal flaws and constantly judge one’s own performance) and the camera smears identities until we no longer know what’s real and what’s in her mind.
I interviewed Darren Aronofsky almost two months ago, when he was touring the nation to promote a little film he made called The Wrestler. It’s been the darling of Top Ten lists and star Mickey Rourke has been riding high on actor accolades and awards. Today, it earned Oscar nominations for Rourke and co-star Marisa Tomei and my interview with Aronofsky is up at Parallax View.
Early in the film, in the scene where Mickey Rourke’s character, Randy, has slept in his van and wakes up the next morning, he’s instantly surrounded by kids who adore him and he adores them, I though to myself, “He’s Wallace Beery in The Champ!”
(laughs) Sure. When we cast Mickey it was pretty hard to get the film made, and the reason was is because pretty much every financer in the world said that Mickey Rourke wasn’t sympathetic. So it was important for me to prove them wrong. And I think after the first three or four minutes of the film, you’re kind of hooked into Mickey. It’s partly because of that scene but I think it’s also because you look into his eyes and he’s very truthful, he’s filled with soul, he’s filled with spirit, and there’s just a burning desire in him.
Mickey Rourke has been doing great work for the last eight years but no one has been noticing it because they’re mostly small films and supporting roles.
He’s also had to play tough guys a lot. One of the great things about Mickey, that I remember from Angel Heart and The Pope of Greenwich Village and Barfly, is that even when he’s this incredible tough guy with all this machismo, there’s so much softness inside. And when you meet Mickey, that’s who he is. There’s a lot of armor built up, but it’s really covering up all this fear.
Casting him as a wrestler also evokes the boxing career he had after he left acting in the nineties.
Sure. I thought that, since he was a boxer, it would be very easy for him to learn how to wrestle. It was actually, I think, twice as hard for him. In boxing you want to hide your punches, you don’t want your opponent to see the punches. In wrestling, you want people in the back rows to see the punch coming two minutes before it ever happens. So Mickey really had to unlearn how he moved in the ring. I think also, as a boxer, you really look down on wrestling because it lampoons what you are doing. So it was hard, at the beginning, until Mickey learned to respect it as something that was as much sport as theater. Once he accepted that there was something theatrical going on, he was able to understand how to approach it.
Read the complete interview at Parallax View here.