‘Noah’ Review: The Ultimate Popcorn Adventure for the Soul

“Audiences can expect all the great moments of the Noah story . . . the Ark, the animals, the Nephilim, the first rainbow, the dove,” states “Noah” director Darren Aronofsky in the production notes for the film. “But hopefully they are captured in new and unexpected ways. Instead of repeating what’s been seen before, we looked carefully at what is written in Genesis, and then created a setting on screen where we felt these miracles could take place.”

Aronofsky is not kidding about miracles, which can only describe how his bold new vision of an old world fable came to fruition in today’s Hollywood. Ever since D.W. Griffith stormed early cinema screens with his 1916 silent epic “Intolerance,” the film industry has loved to assuage its moral guilt to splashy effect. From the various screen incarnations of “The Ten Commandments” to “The Robe” to Mel Gibson’s “The Passion of the Christ,” religion as spectacle is more than populist nirvana. It can be a sacred cash cow, too.

It’s been 10 years since Gibson’s “Passion” revealed a long ignored demographic that turned his Jesus tale into the most successful independent film in movie history. Last year’s Emmy-winning cable juggernaut “The Bible” and the companion film “Son of God” only stoked the fires anew. Jesus has never been so hot. As a result, it is hard not to feel a little bit cynicism in Paramount Pictures’ decision to produce its own Biblical epic with a big screen telling of the Noah legend. Here’s where miracles come in to play again and that’s the final product itself. In the gifted hands of Aronofsky, albeit flawed, his “Noah” is a powerful and relevant vision that is both stirring and vastly entertaining.

For a moment, it did feel like the studio was afraid of its own product. Media pundits’ tongues wagged over test screening problems. Then, the decision to hold a world premiere in Mexico City, review embargoes and visits by Aronofsky and star Russell Crowe to the Vatican all smacked of desperation. It was as if the studio was worried that the film would fail to get a seal of approval from religious groups. Sure there’s a lot of money at stake here, but give the audience a little credit or why make the darn thing in the first place?

Still, to best enjoy “Noah” it is imperative to remove any traces of Bible knowledge you may possess. You’re already dealing with the fantastic, something that also defines “Noah” as a film. Chosen by the Creator, Noah (Russell Crowe) experiences a terrifying vision as to the future of man. His task? He must create an ark that will harbor and protect the natural world, the only worthy survivors to an impending watery apocalypse. It is a perilous task that takes years, ultimately creating enemies out of existing tribes. But the flood comes and once the mankind is eradicated, Noah’s obsession to fulfill the Creator’s wish only divides his family (Jennifer Connelly, Logan Lerman, Douglas Booth, Emma Watson). As they struggle with this new world order, all must stand witness to Noah’s grappling with his own faith and sanity as they begin the painful steps to rebuild life.

You ponder, how is this controversial? It sounds just like the Bible, no? Well, yes and no. While the structure is very much out of the Book of Genesis, it’s the psychology behind Noah and his family’s motivations that make it such unique a film experience. These people question the task at hand once Noah becomes impervious to the family’s doubts and fears. In some instances, even with the spectacular craft that brings the flood roaring to terrifying life, the humanity represented by the ensemble dominates the screen at the right times.

Instead of coming across as a quaint catechism lesson, Noah is presented as a complex human being. He has witnessed the evil that men do from an early age, carrying the scars not as a victim, but standing tall as a man who believes in the power of faith and goodness. His evolution includes tests of faith that allow for scenes of harrowing emotion, alienating his family as they travail the endless waters with no escape. It is an extremely meaty role that offers Crowe a chance to do something he hasn’t done in his last few films. He’s the central figure you want to champion, hate and cheer towards redemption because he is one of Us. It is full-bodied performance, his best in years, controlled and absolutely human.

Where “Noah” overreaches a bit is giving its able ensemble cast equally defined roles. Who fares best? As Noah’s wife Naameh, Jennifer Connelly is steered again by Aronofsky’s (“Requiem for a Dream”) assured hand to deliver a poignant and heartfelt performance to match that of Crowe’s, particularly in the film’s second half. Also contributing a mighty emotional hook is Logan Lerman (“Perks of Being a Wallflower”) as middle son, Ham. Knowing his place on Earth could be a solitary one; the conflict Ham represents is one of the narrative’s most compelling threads, one fueled by anger and confusion. While it is a pleasure to see Emma Watson move further away from “Harry Potter,” her role as the foundling Ila feels more like a symbol of goodness than a person. The same for Douglas Booth as oldest son Shem, although the duo work hard together in not being overwhelmed by Crowe and company.

“Noah” can’t avoid treading into genre film territory, especially because the showiest roles were saved for Ray Winstone and Anthony Hopkins. As the nefarious Tubal-Cain, Winstone seems to be gunning for “Wrath of Khan” territory, which isn’t such a bad thing. He tears into the role of being a real snake in paradise with such vigor, you fear for his co-stars. As Methuselah, Hopkins is still in “Thor” mode here, but not without delivering a choice moment of his own despite functioning as a shaman of convenience.

Such genre tropes are where the secular aspects of the film will cause the most consternation for the devout. Watching creatures known as “The Watchers,” fallen angels representing the scorched and wounded Earth, is perhaps the biggest deviation from the Bible. These rock-like creatures add a magical surrealism and poetic beauty to the narrative, but they will also be the most polarizing element for a mainstream audience.

The biggest question to be asked of “Noah” is exactly who is the intended audience? The four letters of the title pack plenty of meaning and pre-determined opinions. Should Roland Emmerich have created “Noah”, that revered (or reviled) king of CGI disaster bombast, you would have had cause to be worried. What Aronofsky has crafted (with co-writer Ari Handel) is a thoughtful, provocative piece of storytelling that honors the essence of the Bible but dares to find a thread of relevance for today’s audiences. Given what man has done to his home in this century alone, the modern parallels are not as awkwardly planted as with “Avatar.” But like Cameron’s blue-hued blockbuster and Ang Lee’s exquisite “Life of Pi,” there is much on screen to seduce audiences into a state of wonder and awe. And much like these modern marvels of design and effects, “Noah” offers something to feel. Whatever your beliefs, entering the ark of “Noah” is a worthy endeavor. Consider it the ultimate popcorn adventure for the soul. Given today’s cynical standards of films and entertainment, that is a miracle indeed.

“Noah” is playing now in theaters and IMAX.