No, Noah is not Gnostic. (Say that ten times fast!)

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.

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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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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.

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