In the beginning there was nothing. The story of Noah in Genesis begins well before the famous meeting of the divine animal before the flood, in order to associate it with the original sin. It is the theft of the forbidden apple that begins grim reality, where the descendants of Cain resulted in a violent and selfish civilization. To “cleanse” the earth came the great flood that covered the continents. A new beginning, a purification that brings the intriguing question: is there room for humanity in it?
More than just take the biblical story to the big screen, director Darren Aronofsky is interested in discussing is the position of the human being before this “final judgment” under the most diverse aspects. The most explicit is the hand of faith that borders on fanaticism, represented by the title character himself. The unshakeable belief of Noah to follow God’s design makes it not only build the famous ark, but also set aside hundreds - thousands? - Of human lives begging for a spot on the vessel, bringing the character a moral dubiousness that can yield a good controversy. Is even more intense the conflict experienced by Noah after the flood, a surprising subplot that arouses many questions about the human being.
To construct this reality, Aronofsky was deep into research and rescued little known passages from the most diverse religions. It’s remarkable commitment to the reconstruction of certain passages, as well as the effort made to justify this reality fantastic background. Basic questions about the ark and how the animals came to the vessel, and remained there in harmony during the flood, are explained in the feature film, however there are some unanswered questions here and there. Likewise, the director had the necessary care in presenting animals that are not necessarily identical to those we know, but coming from supposed earlier stages of evolution. After all, the world’s Ark is different from the present, and as such, presents very own peculiarities.
However, while there is a clear difficulty in creating this reality, Aronofsky skids of light precisely one of its crucial elements: the guardians. Giant beings that serve as links between Paradise Lost and the current life on Earth, they are conceptually interesting but sin in fantasy garb in tone, referring to the film Harry Potter and The Lord of the Rings series This option might be for reasons marketing in order to attract a wider audience, but also ends up working against the film, since it makes the characters - and the story itself - even more fanciful. And this side is, in the end, what matters least for the movie as a whole.
Regarding the performances, it is important to highlight the work of Russell Crowe. As much as at times your character resembles the epic starring for it earlier, there in his Ark a variety of emotions that makes it, above all, human. Jennifer Connelly and Emma Watson also have good moments, especially in the latter half, when their characters are more emotionally required. The quality in photography, digital, and neat edition in pretty but superfluous moments, as the resubmission of Genesis, also deserve mention.
In the end, the crux of Noah is the implicit discussion of servitude to God and man’s guilt in the reality around us, using the figure for both the punisher God. Do not wait inflamed discussions about the subject, but the construction of situations that can (and should) serve as compared to today. More than just a blockbuster interested in the show, Noah is a film that has nothing to say to an audience that wants to discuss. Watch with an open mind, without sticking to religious details, since this is not the real purpose of the story. Noah looks at the human being, with its flaws and virtues, demonstrating perhaps unfounded belief that can be represented by the most important sentence of the feature film: “evil is in all of us.” Under various aspects.