★★★ / ★★★★
“Noah,” directed by Darren Aronofsky, is a film with a core that should be regarded highly. That is, it takes inspiration from a source and stretches it to a point where it becomes an original vision—or at least one that is close to it. I was wary going into this film. Despite a highly respected filmmaker from behind the camera, I thought it was just going to be another one of those stories directly taken from the Bible without any bite, meat, or flavor—out of fear that a group might get offended. On the contrary, the picture has several layers of substance. Not all of them work, but those that do go beyond lessons or religion. It touches upon a more spiritual realm.
Noah (Russell Crowe) and his family are descendants of Seth, one of the sons of Adam and Eve. They live off the land while people who live in cities, Cain’s successors, nefarious and vile, spread wickedness all over the world. Noah begins to receive troublesome nightmares about drowning among countless dead people. He deems that The Creator has sent him a warning—that a great flood is coming for the cleansing of the land.
The visual effects are not the most convincing: the animals boarding the ark, plants sprouting from the ground, the inevitable flood all look rather fake—but I did not mind. Nor did I care that there are giants with boulders for bodies for half the picture. I found myself caring more about what is being attempted: a critique of Noah’s blind devotion to his creator. When the title character puts his family’s life second, anybody in their right mind, no matter what anyone’s creed, would and should question the man’s sanity.
This is why Crowe’s performance is key. The actor’s role is a challenge in that he must be loving and brutal at the same time. Being slightly off-key is not good enough. Crowe must embody a man torn by love—that of his own flesh and blood and that of his own creator. From the moment Crowe appears on screen, he is Noah: Noah the father, Noah the husband, Noah the believer, and Noah the fallen man.
A few of the supporting actors are miscast. Although Logan Lerman, who plays Ham, Noah’s middle-born son, and Emma Watson, the adoptive daughter, are able to have some moments where they do shine, their looks are too modern. I had too difficult a time believing that they are playing characters from an ancient time. In addition, Lerman’s accent comes and goes while Watson tends to overdramatize especially toward the end when it is time to wait for a sign of dry land.
In place of Lerman and Watson, I would have rather seen plain-looking but very good performers. When the weaknesses in their acting are front and center, I wondered if they were cast mainly to attract the younger audiences. Somebody needed to match Crowe’s intensity and they are not up to the job. Jennifer Connelly, playing Noah’s wife, has one wonderful scene where she has to beg. However, her character is not fully developed. Naameh should have been written to have a complex subplot, one that is comparable, if not parallel, to Noah’s consuming passion.
Written by Darren Aronofsky and Ari Handel, “Noah” is difficult to swallow for many people mainly because of expectations. One group may find it too rogue from the original—and rather short—story. (I went to Sunday school.) Another group may find it not extreme enough especially given the director’s track record for focusing on characters driven by an obsession. Putting those aside and evaluating the picture as is, it is well-made and well-acted at times especially by the lead. It doesn’t quite touch the very depths of our soul but it does offer some food for thought.