Noah – our review

Aronofsky chooses the path of Fantasy for his epic, too burdened by their own will ‘to comply with its legendary origin after having mistreated.

The surprise most ‘incredible, after the vision of Noah for Darren Aronofsky , is decidedly from the reaction of critics and audiences. Very different. Obviously we talk about critical U.S. for now, but the discrepancy between the 78% appreciation of the main reviewers of the Nation to the only 48% of the audience is perplexing and ‘food for thought. Also because ‘we would expect the opposite to the limit …

What is the demonstration of a bonus of affection, appreciation and credibility ‘for a director often delirious, basically inconclusive, but able to win our hearts with the wonderful The Wrestler in 2008. A director from which you can ‘expect everything, for better or for worse, many are taking the risks and the willingness to create.

What he did in this case, consistently, perhaps exaggerating … Surely, more ‘in The Fountain, ending with the accumulating themes, situations, scenes, concepts, and – perhaps – messages up to approach more’ to Religulous Larry Charles and Bill Maher. With the small difference that in this case the passage through the various drifts or existing denominations wanted to give COMPLETENESS ‘the basic thesis, but here the impression and’ do not want to upset anyone, allowing each to identify with at least one element ( including the apocalyptic crescendo of ‘ exalted Crowe ).

Ambitious but not sacrilegious, bold but not vulgar, brutal and epic, a Noah’s twenty-first century. And that should be enough? On the sacrilegious not allow us to say anything, that ‘relates to the sensitivity’ of the individual probably like to vulgarity ‘(even if such an execrable Mess something definitely has it), but – as apt – the other adjectives certainly do not give a complete picture of the Opera.

In the name of artistic license – that ‘the premise more’ shareable film and ‘his own freedom’ in wanting to tell a familiar story in a fantasy setting more ‘biblical (though here the non-believers may not recognize differences) – siam also happy to accept any deviation from the original religious inspiration, which will be ‘well you keep not too fixedly narrative as a reference, but not by a coherence and organization to the bottom. Starting from the origin of civilization ‘human entrusted to the’ Trimurti ‘of Cain, Abel and Seth, but with the help of’ angelic ‘Guardians turn yet in case of need’ and too similar to Ent Tolkeniani Peter Jackson. A civilization ‘than anything else and’ difficult to locate chronologically, having some remains of modern bill that are perceived in the escape of our heroes.

Flowers, visions, miracles and fantastic animals are mostly an excuse for a subplot in this strong environmentalist Noah . The footprint ‘Green’ Aronofksy that he chose to give the entire project – from the absence of plastic bottles on the set (an illness that caused the poor Emma Watson for drinking stagnant water) to refuse to use animals in the film (with the consequence of a CGI does not always alternate) – is in fact explicit in the statements of Patriarch vegetarian, sarcastic towards meat eaters and dressed in clothes ethical avant la lettre. And part of the connection between the ‘always evil’ brood of Cain, the origin of the human race, and anthropocentrism also food that would have been created to dominate and have the upper other creatures.

In retrospect, there are many elements that make us sympathetic Epic fumettone this, from a mode ” Old Testament ‘constantly activated and ready to punish anything for any reason premarital sex allowed by the circumstances’ Playing God’ of old Methuselah. But what we can not forgive the director, and that seems to show a lack of courage or ideas – apart from yet another use of Anthony Hopkins as the Grand Old Man of Legends, good for all occasions, after Odin Ptolemy (the narrator Alexander) – and ‘their mischief in giving shots at the rim and barrel, combining Bible and Lord of the Rings, evolutionism and creationism, in a cosmology that takes us to the garden of Eden, but asking’ an act of faith.