Noah, Darren
Aronofsky’s very unique big-budget interpretation of the Creation of
the Earth and the story of Noah and his Ark, is loosely drawn from
Chapters 6-9 from the Book of Genesis. This is a mammothly ambitious
project and is, as expected, visually splendid with periods of brutal
conflict and immense tension.
Aronofsky
has layered his film with elements of fantasy, promoted concepts of
theistic evolution, and in elevating this human story of good vs. evil
(opponents on both on the surface of the Earth and within our very
souls) to a grand scale has left his recognizable stamp on the Hollywood
blockbuster.
Russell Crowe gives his best performance in years and Clint Mansell’s compositions are still echoing in my ears. Noah offers something distinct and memorable, and I was absorbed into the story immediately. Unfortunately, there are some elements – perhaps the result of tight studio pressure – that don’t work so effectively and stifle its complete success. While Noah is perhaps the most wildly inconsistent film yet from Aronofsky, showing such assurance in his bleak, affecting character-driven dramas, Requiem For A Dream, The Wrestler and Black Swan (though it has the most in common with The Fountain, his underrated masterpiece), it leaves a viewer questioning just how far they are willing to go for what they believe in. For better or worse, conventional it is not.
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