Alissa Wilkinson has an article in The Atlantic under the headline ‘Can Indie Filmmakers Save Religious Cinema?’ It’s a question that I and others have been asking for at least 20 years, and I imagine other Christian film writers were asking it even earlier (going back at least to 1981’s Chariots of Fire, which was distributed by Warner in North America and by Fox overseas but was produced independently).
My article on the portrayal of Noah in film is now up at CT Movies.
It looks at how the story of the Flood has been told — and, in a couple cases, modernized — in Noah’s Ark (1928), Green Pastures (1936), The Bible: In the Beginning… (1966), Genesis: The Creation and the Flood (1994), Testament: The Bible in Animation (1996), Noah (1998), Noah’s Ark (1999), Evan Almighty (2007) and, of course, Darren Aronofsky’s Noah (2014).
It’s not an exhaustive list by any means — I would have liked to include a note about the three short Noah-themed Disney cartoons produced between 1933 and 1999, in particular — but I think I was pushing my word limit as it was.
Previous ads showed Methuselah telling Noah that mankind has earned the wrath of God because mankind has “corrupted this world and filled it with violence” — but yesterday’s ads pushed the language in an even more explicitly biblical direction.
The title card that opens the new trailer states: “At a time when wickedness was great in the world… so too was the response.” And the narrator in the new TV spot declares that the film takes place at a time when “wickedness ruled the hearts of men”.
This echoes the beginning of the biblical Noah story, which states: “The Lord saw how great the wickedness of the human race had become on the earth, and that every inclination of the thoughts of the human heart was only evil all the time.”
But what exactly did that wickedness consist of?
THEY’VE BEEN making films about Moses since at least 1907, when the Pathé studio in France released Moses et l’Exode de l’Egypte. The Vitagraph company in America followed suit with J. Stuart Blackton’s five-part The Life of Moses, released between 1909 and 1910. Moses has popped up in movies ever since, from the all-black cast of The Green Pastures (1936), starring Rex Ingram as ‘de Lawd,’ to Mel Brooks’ randy satire History of the World Part I (1981).
ABRAHAM meandered too much, and Jacob fell completely flat. Things started looking up with the epic Joseph, and now, with the brisk Moses under its belt, it would appear that ‘The Bible Collection’ has finally hit its stride.
And what a fast pace it is, too: Moses opens with a quick montage to show how this Hebrew came to grow up in the Egyptian palace and then it squeezes Exodus and Numbers into a mere three hours while skipping Leviticus and using just one or two chapters from Deuteronomy. (By way of comparison, it took seven hours for The Bible Collection’s first three videos to cover 39 chapters of Genesis.)