Noah: Aronofsky’s Biblical Tale Soars with Entertainment

As far as motivation sources go, visions of a flood that’ll wipe out all life is very effective. Look at Noah: by seeing these visions, he can build an Ark massive enough to shelter every single animal. With the Aronofsky touch, Noah is the year’s first worthwhile trip to the cinemas.

One thing for sure, since this is a story from the Bible after all, is that the scale will be gigantic. Although his past films are more personal in nature, such as Pi, The Wrestler and Black Swan, Noah shows Aronofsky is well-equipped to handle things on a bigger scale. Using Iceland’s beautiful “barren here, lush there but vast overall” landscape as a backdrop, the setting is simply perfect for a story from the Scripture. And what better way to display said perfection with Matthew Libatique’s (Iron Man, Inside Man and most of Aronofsky’s films) Herculean-scale photography? Or Clint Mansell’s (Smokin’ Aces, Moon and all of Aronofsky’s films) grand soundtrack?

Then again, Aronofksy didn’t forget what put his films on the map in the first place – the human element. The script from Ari Handel and Aronofsky himself shows Noah far from perfect, just a husband and father of four kids that is assigned to do a monumental task. I can’t help but be invested into the character (or all the main characters in fact), which is a surprise considering the trailers only capitalize the film’s scale and more scale. Two other elements also minimalize to suit the fact – with Libatique switching to handheld that lends unprecedented performer-audience proximity (like in Black Swan) and Mansell toning down to more serene scoring despite the tale’s thick sense of urgency.

Another thing Noah gets right is the casting. As Noah, Russell Crowe (A Beautiful Mind, Gladiator, American Gangster) brings forth his signature quiet intensity and, surprisingly, vulnerability. He beautifully portrays a man who knows exactly what to do and who has to face the consequences for doing things so exacting, as seen in the latter half. Just when I’m having a really hard time deciding whether General Maximus or mathematical genius John Nash is his best performance… so yeah, thank you for making my life harder, Mr. Crowe.

Surrounding Crowe are equally strong performers as well. The underrated Ray Winstone (Beowulf, the first Narnia) as the film’s antagonist Tubal-cain. His voice is one thing, but it’s his subtle approach to being villainous that lends him sizable charisma and presence, which nicely goes up against both Noah and Crowe. Then there’s Jennifer Connelly, who’s powerful and elegant as Naameh, the dutiful wife plus, to an extent, Noah’s more sensitive and rational side. Seeing her performance here allows me to finally forgive her forgettable outing in the underwhelming Winter’s Tale. The young actors do an adequate job but the best of the bunch is without a doubt Emma Watson (Harry Potter series, My Week My Marilyn). Being Ila, an orphan who calls Noah’s family home, Watson takes on her most emotionally taxing role to date and seems to me she can hold her own against A-listers, as evident through her chemistry with Crowe. In general, having the cast fuses the soul with the fantasy elements makes Noah not your typical big-budget feature.

While technically impressive, Noah shines brighter when it shies away from CGI. That’s not to say the computer work is bad – the animals pouring into the Ark, the odd-yet-nice animations of the Watchers (voiced by The Prince of Tides’s Nick Nolte, Frost/Nixon‘s Frank Langella and Aronofsky’s regular Mark Margolis) and the climactic flood sequence – are all thrilling, yet I bet you’ll be more interested in the film more practical bits – the use of time-lapse photography and some awesome montages. Quite debatable however are instances involving awkward transitions and a couple of unexpectedly gruesome sequences that might get you asking “how is this PG-13?”

Due to its exclusive intention to entertain, purists should stay far away from Noah. Certain elements will unnerve believers (I’d even say the film’s opening title card will do it) but if, and only if, you can let go for 2 hours, you’ll find this take on the Biblical tale soars.