Noah: our first clip from the film, and a new TV spot!

We’ve seen trailers and TV spots and at least one featurette for Darren Aronofsky’s Noah — so now it’s time to see an actual clip from the film, right? Well, at last we have one, along with a brand new international TV spot. Check them out below the jump.

First, here is the clip, courtesy of Total Film magazine — which, in its wisdom, has dubbed the clip ‘The Ark Knight Rises’ (har har har):

There is a lot to like in this clip. I like the music by Clint Mansell, I like the biblical language Noah uses when he talks about the waters of the heavens and the waters of the Earth coming together to destroy the world, and I like the way Noah’s son Ham probes Noah’s assumption that the animals are innocent and deserve to survive whereas humans — including perhaps Noah’s family — are not and do not.

Second, there is the new international TV spot, which has a few new shots:

The first new-ish shot, I think, is this one of the mammals approaching the Ark; we have seen them from similar angles, but not quite this one, I think:

Also, there is Tubal-Cain using an antediluvian form of pyrotechnics:

And finally, one of the most haunting shots yet — just wait ’til you see it on the big screen — of waves crashing against a not-yet-submerged mountain peak and the would-be survivors clinging thereto, as the Ark drifts by in the background:

Check out my earlier shot-by-shot trailer analyses here:

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About Peter T. Chattaway

Peter T. Chattaway was the regular film critic for BC Christian News from 1992 to 2011. In addition to his award-winning film column for that paper, his news and opinion pieces have appeared in such publications as Books & Culture, Christianity Today, Bible Review and the Vancouver Sun. He has also contributed essays to the books Re-Viewing The Passion: Mel Gibson’s Film and Its Critics (Palgrave Macmillan, 2004), Scandalizing Jesus?: Kazantzakis’s The Last Temptation of Christ Fifty Years on (Continuum, 2005) and The Bible in Motion: A Handbook of the Bible and Its Reception in Film (De Gruyter, 2016).


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