‘Noah’ Sails to Success
When I first learned filmmaker Darren Aronofsky, known for his art-house films about substance abuse and schizophrenic ballerinas, was making an adaption of the biblical story of Noah’s ark, I was mostly confused, but also a little intrigued.
This is Aronofsky’s first attempt at an action blockbuster, opposed to his usual psychological thrillers. His surreal visual style, gritty cringeworthy gore and raw emotional (often Oscar-winning) acting performances are expected by most since the critical success of his previous movies, “Requiem for a Dream,” “Black Swan” and “The Wrestler.”
His latest, “Noah,” does not fall short of these expectations. The lengthy two hour and 25 minute epic, starring veterans Russell Crowe, Jennifer Connelly and Anthony Hopkins, and fresh-faces Emma Watson, Douglas Booth and Logan Lerman, made great use of its big budget with incredibly impressive graphic effects.
But unlike a lot of modern filmmakers, Aronofsky’s mesmerizing visuals are not just to show off how talented and artsy he is. They were woven masterfully to depict and illustrate the film’s suspenseful intensity and after just 30 minutes, it’s impossible to look away.
Crowe gives one of his best performances as Noah, displaying the magnetic intensity he is known for. Though Hopkins had a minor role, his cerebral and charming essence made his character as the oldest man to ever live, Methuselah, a serene presence in the movie. Lerman as Ham and Watson as Ila both exhibited levels– of acting they had not previously reached.
But the biggest—and surprising—standout of the film is Connelly as Noah’s wife, Naameh. Her role requires comforting patience a majority of the film, but in just a few scenes of tragic despair, she gives a passionate, heart-wrenching performance that could have so easily swayed toward overacting with a less talented actress.
The film also featured “Watchers” (fallen angels) that are played by acclaimed actors Frank Langella and Nick Nolte. They are shrouded in CGI technology, looking like hybrid of The Thing and a huge, glowing spider. Though their roles are secondary, they both add a bit of much-needed humor to the extremely intense drama.
Some are criticizing Aronofsky for his creative license, but they do not get the big picture. His purpose is not to educate people on religion or even stay that true to the story told in the Bible, but rather use the story to express universal themes about violence in humanity, environmentalism and animal cruelty.
Aronofsky is never one to sacrifice his vision for the sake of pleasing others, and because of that he always delivers poignant, thought-provoking films that stir up controversy.