Noah on Blu-Ray: some quick notes on the bonus features

noah-target-aThe Noah Blu-Ray is here — and with it, a bunch of behind-the-scenes stuff that we have never seen before. Here are some quick notes on the bonus features.

First, a reminder that different editions of the film come with different bonus features.

As far as I know, seven bonus features have been released one way or another so far, and all of them are available on the “exclusive” Target edition of the Blu-Ray. (The bilingual packaging on the disc I bought here in Canada listed only six bonus features, but the actual disc had all seven.) But only three of them are available on the Blu-Ray that is available everywhere else.

Also, three bonus features are apparently included if you purchase the film directly from iTunes (if you use iTunes to get the free “digital copy” that comes with your disc, you won’t get any bonus features, just the film), but one of the iTunes bonus features is actually from the Target disc and not from the regular Blu-Ray.

Confused yet? I’ll try to sort it all out below.

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On asking questions, not assuming answers, about Noah

Brian Godawa has now updated his post on the Noah serpent — twice! — in response to posts of mine in which I debunked the claim that Noah is Gnostic and tried to untangle just what the snakeskin represents, both in Judaism and within the film specifically.

Brian’s a good guy, and he’s done a lot of research into the Noah story, and I have found his posts on that subject very informative. But when it comes to his analysis of Darren Aronofsky’s film, it seems to me that he has certain blind spots, or that he insists too strongly on filtering his experience of the film through a certain worldview without fully engaging with the film on its own terms.

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Second impressions: Noah (dir. Darren Aronofsky, 2014)

The first time I saw Darren Aronofsky’s Noah, I took six pages of notes, and I watched it with the memory of an early draft of the screenplay lingering in my brain. So I was distracted on at least two levels: by a need to jot down as many quotes and facts as I could, and by an awareness of how the script had evolved. Never mind people who obsess over how the film may or may not have deviated from Genesis; I kept thinking of how the film was deviating from that early script!

Needless to say, I don’t normally take that kind of background knowledge to the theatre when I go to see a movie, and I knew it wouldn’t be fair to Noah to hold that knowledge against it either. I also knew I needed to just sit back and watch the movie like a proper movie, to bask in the drama and let it unfold.

And so, on Wednesday morning, I saw the film a second time. And I can think of no better way to sum up the difference between my two viewings of the film than to say that I didn’t cry at all the first time I saw Noah, but I shed tears on a few separate occasions the second time I saw it. It’s a powerful, powerful film.

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Exclusive: Darren Aronofsky and Ari Handel on the meaning of “righteousness”, whether villains can believe in God, and the hurdles they faced when pitching Noah

My interviews with Darren Aronofsky: 1998 | 2014 pt 2 | 2014 pt 3 | 2014 pt 4

A few weeks ago, I had the privilege of seeing Darren Aronofsky’s Noah and speaking to both Aronofsky and his co-writer/co-producer Ari Handel immediately after the screening. The following is part one of our conversation. The film comes out Thursday night.

I don’t know if I should admit this, but a copy of an early draft of your script drifted my way, so when I read it, I was struck by the justice and mercy theme, and it was really interesting to see that here in the finished film.

Darren Aronofsky: Well, that was a big part of the movie for us. I think when Ari and I started working on the project and we started reading the Bible over and over again, there’s this term where they call Noah “righteous,” and so what does that word mean? People sort of have a sense of what the word means, but there’s a lot of ways to define it when you really try to figure it out, and so we started talking to a lot of people and looking it up and tried to understand it, and a lot of the different theologians and scholars that talk about it, we came upon this idea that it was a perfect balance of justice and mercy.

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Is “God” missing from Darren Aronofsky’s Noah? Please.

Reviews of Darren Aronofsky’s Noah have been trickling out for a few days now — you can read my own first impressions here — and one of the more puzzling remarks I’ve come across so far is a bit from Todd McCarthy’s review in The Hollywood Reporter.

Specifically, McCarthy, who likes the film, asserts in passing that Noah “will rile some for the complete omission of the name ‘God’ from the dialogue”.

When I first read that, I wondered who McCarthy could possibly be referring to. Who, exactly, would be so easy to offend, so eager to nitpick the smallest detail, so ready to assume the worst about this movie that they would live up to the stereotype invoked by McCarthy and actually make an issue of this?

Enter Breitbart News.

To be fair, Big Hollywood — the Breitbart website that has been hostile towards Noah ever since it published a critique of an early draft of the script in October 2012 — devotes only a few sentences to this bit from McCarthy’s review. But devote them, it does, quoting that one line and commenting that the absence of this word “might make the movie a harder sell to its intended audience–faith-friendly viewers.”

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First impressions: Noah (dir. Darren Aronofsky, 2014)

It’s tempting to say that Darren Aronofsky’s Noah has brought back the Bible epic. It’s certainly the first major live-action Bible movie to be produced by a Hollywood studio in decades. But the fascinating thing about this film is how utterly different it is from the Bible movies that came before it. Aronofsky has not revived the genre so much as he has utterly transformed it.

Unlike most Bible films, which take place within decidedly historical contexts, Noah is based on the earliest, most “mythic” chapters of Genesis, as well as some of the Jewish legends that have grown up around those chapters. Building on the ancient otherworldliness of these stories, Aronofsky has created a grounded yet somewhat fantastical environment that is, at times, strikingly reminiscent of the Lord of the Rings movies.

But the core biblical themes — of temptation, wickedness and punishment — are still there, and Aronofsky infuses the genre with his own personal style, not least in his use of haunting dream sequences and in his focus on a morally ambiguous protagonist.

Put it all together and you’ve got something quite unique.

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