Supercuts explore key visual motifs in Aronofsky’s films

noah-backofhead

Back in October, I posted a series of screencaps demonstrating the visual and thematic links between Noah and Darren Aronofsky’s earlier films. One of these days, if I ever familiarize myself with video editing software, I might do something similar in video form. In the meantime, “supercuts” that chart the visual links between Aronofsky’s films — up to and including Noah — have begun to surface. You can check out two of them below the jump, and I will add more to this post if any come along.

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The thematic and visual links between Noah and Darren Aronofsky’s earlier films: a gallery

vlcsnap-2014-10-03-16h13m51s23The six films made by Darren Aronofsky to date all tackle different genres and subjects, but they also have some striking things in common.

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.

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Flood Theology

NOAHDarren Aronofsky makes movies about obsessive people. To be the protagonist in an Aronofsky film is to be a mathematician who studies the stock market looking for hidden or even mystical patterns, or a middle-aged woman who takes drastic measures to lose weight because she thinks she will be on television soon, or a scientist who neglects his wife because he’s trying to cure her terminal illness, or a wrestler or ballet dancer who would literally rather die than miss an opportunity to give the performance of a lifetime.

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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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Exclusive: Darren Aronofsky and Ari Handel on biblical accuracy and combining science and religion in Noah

My interviews with Darren Aronofsky: 1998 | 2014 pt 1 | 2014 pt 2 | 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 three of our conversation. Click on the links for parts one and two. The film comes out tomorrow night.

Warning: This section of the interview begins with a spoiler from the film’s third act.

There’s been a lot of talk lately about the question of “accuracy.” It’s a word that comes up constantly in relation to Bible films, I think because people are afraid of creativity, and yet of course your film does definitely follow certain things like the measurements of the Ark, and yet on the other hand your film has only one wife for one of Noah’s kids–

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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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