Review of Noah, Directed by Darren Aronofsky
Darren Aronofsky’s film Noah has been analyzed and debated ad nauseum by critics and bloggers in Christian circles. I suppose given its biblical source material, everyone felt a need to weigh in. Normally I wouldn’t presume to try to add another voice to a subject so thoroughly flogged (and now ancient history, in internet terms). But there’s a simple way of framing Noah that I have yet to see presented.
It is this:
The film tells the story of Noah without Jesus. Of course Noah takes minor liberties and debatable interpretations from a handful of verses to fill in a two-hour story, but it gets the major thrust of the biblical narrative correct. It places all the blame for death, evil, and abuse squarely on the shoulders of mankind. We are all depraved, Noah recognizes. He sees that the seeds of evil in the sons of Cain outside the ark dwell within him and his family too. One critical omission, however, stands out most – the promise of a Deliverer. Notice that when Noah tells his family the creation story, he ends it before God expounds on the specific ramifications of the curse – man must work by the sweat of his brow, enmity is placed between man and woman, and, most importantly, God promises that Eve’s offspring will crush the serpent’s head. Noah leaves out God’s Messianic promise to undo and conquer the wrong that the serpent and mankind have done. He leaves out Jesus Christ.
This has profound ramifications for the philosophical trajectory of the film. Aronofsky’s Noah shows us that when you strip the Messiah out of the biblical narrative, only two options remain: despair (read: suicide) and humanism. If humanity is hopelessly depraved and fundamentally bent toward evil, as Crowe’s Noah understands, there’s nothing for it but to let the human race die out. Life has no point – better to cut it off now and avoid the future suffering that we will inevitably cause. So that is what he intends to do. As horrific as this plan is, part of me empathizes with him. Even in the ark we see how Ham nearly murders his father out of resentment, and it seems that Noah might actually be right in his bleak projection of the future should humanity continue.In true Hollywood blockbuster fashion, the film is not cynical enough to leave us with the demise of the human race according to Noah’s plan. Sans the idea of a Savior capable of both forgiving and removing a person’s sin, it turns to humanism. Noah cannot strike down his daughters in the end because all he feels in his heart is love. He cannot help giving in to this righteous impulse. He concludes that God is giving humanity a new chance to rebuild and do better. And so we end in the hope that through love and cooperation and a renewed dedication to the Creator and creation, humanity will do better this time – we will do better this time.
All of this makes for a heretical retelling of Noah, but the heresy occurs in an emotionally powerful and theologically instructive fashion. We should expect nothing less from Aronofsky, who knows how to craft a good story and understands a thing or two about human nature. Stripped of the promise of a Deliverer who will save mankind from its sins, he strings us out to the existential extremes. He shows us how without Christ, not much remains of the hopeful, positive themes of any Bible story. Consider the biblical stories within the context of human literature. Out of all the stories ever told, the Bible’s depiction of humanity, from Genesis to Revelation, stands as one of the bleakest. It paints a sick, brutally realistic picture of mankind – even many “heroes of the faith” – which Aronofsky’s Noah captures well. The problem in this world is us, and Noah presents us with the only human solutions. Neither of which, if we’re honest with ourselves, is satisfactory. It’s a rather ironic conclusion, because if you keep reading Noah’s source material, the tower of Babel is just a chapter away. Even in the film itself, the way Cain and Able are portrayed in Noah’s story – flashing to silhouettes of soldiers with increasingly sophisticated weapons – suggests that the same impulse that drove Cain to murder his brother continues in the hearts of humanity until this day.
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