With interpretation of dreams, forecasting from teacups and intuitions – this is not a religious or a propaganda film, but director Darren Aronofsky’s interpretation of the biblical tale, “Noah’s Ark”.
Set on a vast canvas with appealing visuals, “Noah” is a fantasy laden, blinkers-on, one dimensional portrayal of the biblical character of the same name. And in no manner does it resemble any epic from the same genre, ever seen before. With computer generated images merging with ash-barren locales, this is a very modern take of a biblical film.
The prelude, taken from the bible, establishes that god here, continually called “The Creator”, is disappointed with mankind for various reasons and intends to destroy the world.
Whatever your belief or how much you believe or don’t believe in the story itself, the tale of Noah (Russell Crowe) is fundamentally a testing account of a man who has visions, of death and destructions by water. He also sees life emerging from barren land and realizes the Creator’s plans.
So, over a cup of tea, Noah tells his grandfather – the wise old Methuselah (Anthony Hopkins): “I saw death and I saw life. To which, Methuselah replies, “We are entrusted by tasks greater than our desires. So follow the Creator’s plans.”
Realizing his mission, Noah decides to build a massive Ark, which will hold animals and his own family, all of whom will be the key to restarting society all over again, once the Creator has wiped out the sinful incarnation. This forms the basic crux of the story.
In this endeavour, Noah is assisted by his wife Naameh (Jennifer Connelly) and his sons Shem (Douglas Booth), Ham (Logan Lerman) and Japheth (Leo McHugh Carroll). There is also Ila (Emma Watson), who they had once saved from death and raised her as one of their own and the Watchers, the film’s version of the biblical Nephilim, fallen angels exiled to earth for their loyalty to mankind and imprisoned inside towering granite bodies.
They never question Noah’s declaration of his absolute alleged insight into god’s will.