Noah
"Noah" is more of a surrealist nightmare disaster picture fused to a parable of human greed and compassion, all based on the bestselling book of all time, the Bible, mainly the Book of Genesis.
More specifically, "Noah" is writer-director Darren Aronofksy's interpretation of the story of Noah and the flood. He's made a few changes.
Okay, more than a few.
Among other things, Aronofsky has stirred in ideas from earlier film versions of Noah's story, plus bits from other religions and mythologies, including the Kabbalah, pre-Christian paganism and, it would appear, J.R.R. Tolkien and "The Neverending Story." And he's worked in what comic books or long-form TV watchers would term "callbacks" to earlier parts of the Old Testament, including the slaying of Abel by his brother Cain, the death of Noah's father Lamech, and Adam and Eve's ejection from the Garden of Eden.
Darren Aronofsky’s Biblical epic is the craziest big movie in years, a farrago of tumultuous water, digital battle, and environmentalist rage (think of Al Gore glaring at the Apocalypse). Aronofsky’s Noah (Russell Crowe) is a gloomy vegan who accepts the annihilating judgment of the entity he calls the Creator: man has polluted the earth, and must go. The movie shifts back and forth between the visionary and the mercenary, between startling invention and mall-movie cliché. At one point, Noah tells his family the story of existence, and we see the void, the first dazzling light, protozoa, lizards crawling out of ponds, and evil unclean man. In a single sequence, Aronofsky combines creationism, Darwinian evolution, original sin, the end of days, and radical environmentalism. With Ray Winstone as Tubal-Cain, a filthy thug who fights to get himself and his followers onto the ark; Jennifer Connelly as Noah’s wife, who pleads for human life; and Logan Lerman, Anthony Hopkins, and Emma Watson. Matthew Libatique did the apocalyptic cinematography.
Sem comentários:
Enviar um comentário