Darren Aronofsky’s Noah came out on Blu-Ray and DVD one year ago this month, and to mark the occasion, I have rounded up every bit of footage I can think of that was deleted from the film itself but can still be seen in the trailers and featurettes.
For one thing, they have generally been made by the same creative team, including composer Clint Mansell (who has scored all six of Aronofsky’s films), cinematographer Matthew Libatique (who has shot all of Aronofsky’s films except for The Wrestler) and a number of recurring actors (such as Jennifer Connelly, Ellen Burstyn and especially Mark Margolis).
But the films also have some thematic overlaps. As I mentioned in my review of Noah for Books & Culture, Aronofsky films often dwell on the notion that it is impossible to touch perfection and survive. They also tend to revolve around characters who are obsessed with something, often to the characters’ detriment. And more often than not, they tend to make references to the Bible, some more pronounced than others.
And that brings us to Noah. When the film came out, a number of critics (such as The Playlist’s Drew Taylor) noted that it had some striking things in common with The Fountain in particular. But Noah actually harks back — visually and thematically — to pretty much all of Aronofsky’s earlier films to one degree or another.
Thanks to a lengthy blog post by Brian Mattson, a theologian with the the Center for Cultural Leadership in California, the latest meme to work its way into public discussion of Darren Aronofsky’s Noah is that the film is somehow Gnostic, and that it presents a worldview in which God is really Satan and vice versa.
Is there anything to Mattson’s claims? Not really, and here’s why.
Exclusive: Darren Aronofsky and Ari Handel on how they developed the script and where they really got the name for Emma Watson’s character in Noah
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 two of our conversation. You can read part one here. The film comes out Thursday night.
I’ve heard multiple times about the poem that you wrote, was that high school or is that late elementary, or–?
Darren Aronofsky: That was seventh grade, so I was like 12, 13, probably.
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.
Noah news round-up: a big opening in South Korea, a look at the Jewish myths behind the film, and more
Well what do you know, Darren Aronofsky’s Noah is already playing in theatres and raking in the big bucks… in South Korea.
Various sources are reporting that the film opened there on Thursday (which might mean yesterday, given that it’s on the other side of the international date line), and that its first-day gross was on par with that of films like Gravity and Inception. I imagine those particular examples are cited because they were big hits that, like Noah, did not have the advantage of being sequels or part of a franchise.
Amusingly, The Hollywood Reporter suggests that the film owes part of its success to the fact that South Korea “has a large Christian population”, while Variety notes that “a large percentage of the South Korean population is agnostic”. Well, there’s no reason the film couldn’t be playing to both audiences.