Mr. Aronofsky's adaptation of the famous bible story of Noah and the Arc, is no different. Those hoping for a version like we heard in Sunday School are going to be very disappointed. Much like Nina Sayers, Randy "The Ram" Robinson and Sara Goldfarb, Noah is a man plagued and haunted by delusions, which drive him to nearly tearing his entire family apart. It may just be his darkest film yet.
When our story opens, we see Earth as a desolate, barren wasteland. Much of the world has been destroyed by the descendants of Cain, who continue to pillage and ravage anyone or anything in their sights. Noah (Russell Crowe) witnessed such acts as a small child, when he watched the death of his father at the hands of Tubal-cain (Ray Winstone, the film's antagonist). His main goal is simply to simply survive, along with his wife Naameh (Jennifer Connelly) 3 sons: Shem (Douglas Booth), Ham (Logan Lerman) and Japeth (Leo McHugh Carroll), and adopted daughter Ila (Emma Watson). Though (as we all know) that desire becomes a problem when "The Creator" threatens to destroy mankind with a giant flood, which is what provokes the building of Noah's legendary arc.
Though Noah ultimately ends up being a film about the survival of family and hope, it is incredibly dark. There is a shot of Noah sitting on the arc, denying Illa's request to throw ropes to save others from drowning with the camera pointed squarely at his face. You can tell he's wrestling with himself in his mind, as the screams of those dying outside of the arc serve as the soundtrack for the scene. This back and forth between Noah and his inner demons is what gives much of the film its conflict. Noah has to make the decision to save a few and sacrifice the masses. He falls so deep into his "duty to the creator" he is blind to the innate goodness in his family, and chooses to see humanity's wickedness.
Those hoping that Aronofsky's signature touch has faded with the epic adaptation (and budget) will be pleased; though his scope has widened, he remains true to himself and his fingerprints are all over this one, which brings me to the performances. Aronofsky is known for wringing out amazing performances from his actors, and boy did he get a great one out of Russell Crowe. It's been a long time since Crowe has been this compelling onscreen, but his Noah is right up there with his performances in The Insider, L.A. Confidential and A Beautiful Mind. In fact, I would go as far to say that this tortured hero/warrior is better than his Maximus from Gladiator (for which he won an Academy Award for). As Noah, Crowe gives us a portrait of a man who has to make the tough choices while being plagued by hallucinations of the world ending.
Jennifer Connelly as Noah's wife was a pleasant surprise, reuniting with Aronofsky for the first time since Requiem For A Dream (in which she gave the best performance of her long career). As Naameh, she is a welcome presence, but she's never able to get past the "supportive wife" hurdle (blame that on the writing, not her acting). The rest of the ensemble is aces, with Anthony Hopkins' character as Noah's grandfather eliciting some much needed laughs, but it's Emma Watson that rises to the challenge to match Crowe as the standout. In a role that would have definitely been similar to Connelly's role (stand along, one note, "the long suffering wife") Watson takes what she's given and once again shows that she is more than Hermione Granger; she is an actress swelling with talent and promise. Her Illa is the beating heart of the story and her scenes shared with Crowe are the best in the film; watching them play off of each other gives the film a much needed heartbeat. It's a quietly powerful performance that truly solidifies Watson as one of the most talented and exciting actresses of her generation. Between her work in Sofia Coppola's The Bling Ring, and now Noah, Watson has delivered 2 Oscar caliber performances that really showcase her abilities as an actress to bring complexities and details to roles that weren't on the page.
Aronofsky's master collaborator, cinematographer Matthew Libatique, returns after several other collaborations with the director (Pi, Requiem For A Dream, The Fountain and Black Swan) proving that these 2 really make magic together, which complements the magic of the movie itself. Take a look below at what remains the best shot of the film (and one of my favorite shots ever from a movie, you'll probably see it again in my end of the year list):
That being said, Noah is still a must see. Visually speaking it's gorgeous, and though it lulls and drags a bit, there are some compelling and very arresting performances from Russell Crowe and Emma Watson. Though it may deviate from the version we're all familiar with, it's the best version (I think) of the story that could have been made. At its core, it's a story we can all relate to: survival, and the importance of love and family. It definitely challenges Requiem for bleakest and dismal in terms of tone at times, but remains much more hopeful.
It will anger some (in more ways then one) but it is laudatory, thought-provoking though deeply flawed filmmaking. Aronofsky already made his masterpiece with Black Swan. Noah is his epic, and though it's not a perfect film, it never needs to be; the flaws make the film what it is.
Oscar chances: It would be a crime to see the Cinematography go unrewarded. Though it's not Libatique's best work (that's his work in Black Swan) it's leagues ahead of some past recipients, and remains the film's best chance at recognition. Maybe production design and some techs/crafts? Russell Crowe would get my vote in a heartbeat, and Emma Watson turns in another worthy Supporting Actress performance (those are huge longshots, however).
Grade: 8/10
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