3 stars out of four. D: Darren Aronofsky. W: Aronofsky, Ari Handel. P: Aronofsky, Scott Franklin, Arnon Milchan, Mary Parent. Protozoa Pictures, Disruption Entertainment, Paramount Pictures, Regency Enterprises. Starring Russell Crowe, Jennifer Connelly, Ray Winstone, Anthony Hopkins, Emma Watson, Logan Lerman, and Douglas Booth. Wide release: 3/28/2014. Distributed by Paramount Pictures. Rated PG-13 (violence, disturbing images and brief suggestive content). 2 hours, 18 minutes.
Director Darren Aronofsky has always managed to fascinate me with his inventive approach to story. I’ve seen his entire oeuvre (save for “The Fountain”), and he’s always found my gratitude in reusing the same setup. The idea is that, once a character grows obsessed with something, he or she is on a path toward self-destruction.
Thus “ [Noah](movie:204057)” is a Biblical epic told from the stance of a psychologist. It’s definitely not the view of a historian, and as a psychological representation of the titular character, it’s truly riveting. The film can be properly separated into three acts: Act I, the Preparation for the End; Act II, the End of Mankind; and Act III, the Creation of the New World. Or, for those who would rather look at it as a flood story than as a biopic, the three acts are the Omens, the Flood, and the Aftermath. Either way, Noah is more likeable than any choice character from Aronofsky’s canon. He’s a good-natured, kindhearted family man. The script and Russell Crowe’s performance intertwine to make this man natural and relatable to us. Additionally, the written effort from Aronofsky and Ari Handel offers an elaborate, convincing vision of the Biblical hero.
For every second of its two hours, eighteen minutes, “Noah” has our undivided attention. The film engages mainly because of its dark, intense, and unconventional look at the antediluvian patriarch. It’s worth mentioning, though, that the third act is rattling and absolutely brilliant. The climactic moments have us at the edge of our seats, even if that’s what we most expect, given the adrenalizing finales Aronofsky conducted in “Requiem for a Dream” (2000) and “Black Swan” (2010).
“Noah” features a distinct array of fantastical elements. Many of these are there to enhance the mystery and miracle that we find in flood story that encompasses four chapters of the Book of Genesis. Sometimes, however, the movie gears toward something of a high fantasy. It has good intentions in that latter area. We’re introduced to the “Watchers”. These are angels that were sent to earth to protect the innocent from evil. It gives them enough credibility that they freely admit to Noah how hopeless they feel, thanks to how corrupt the earth has become. A great idea, but it’s difficult to see how an angel can look like a walking pile of rocks. Whether this was a CGI problem or a script problem, I felt strangely as if I were watching The Lord of the Rings.
In substance, “Noah” is a psychological drama. In style, it’s a Biblical epic. Clint Mansell (“Lux Æterna”) composed the score, which matches up precisely with not only the movie’s demanding and ambitious nature, but also Noah’s demanding and ambitious character. Same for the set decoration and the keen-eye editing. Best of all is the genius Matthew Libatique. Underrated as he may be, Libatique has taken the reins once again with his magnificent cinematography. When Russell Crowe tells his family the story of Creation, every one of these elements comes to a peak and is absolutely breathtaking. I do guarantee that “Noah” is a beautiful, touching piece. For those who enjoy solid, crafty entertainment, “Noah” should be seen, and for all the cinematic beauty it offers, it deserves to be seen at the theater.
OF INTEREST: Darren Aronofsky directed five feature films before he directed "Noah". Adjusted separately for inflation, the combined budget of his first five films is less than $67 million. "Noah" alone cost $125 million to make.