Passion Lane 2001 DVDRip
Hercules Montero
But wait: this is not the latest Marvel Comics epic. Nor is it a standard-issue messianic sci-fi film along the lines of "Star Wars" or "The Matrix." "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.
Aronofsky's film seems to have the same aims but different concerns. "Noah" ties God's wrath to the indiscriminate despoiling of the land and the slaughter of earth's animal population by greedy and hungry humans. (Noah and his family are vegetarians and view the consumption of meat as a sin against God, referred to here only as "the Creator.") The deluge, vividly described by Noah as "the waters of the earth meeting the waters of the sky," is depicted as kind of a nautical version of a panini press that sandwiches the earth's creatures between slices of roaring water and crushes the life out of them. In this Biblical epic, water doesn't just rain down and creep up toward the Ark, it gurgles up from the soil, the cracked earth filling up like blood welling in wounds. Sometimes it erupts with geyser-like force. An aerial view of the flood spreading across the land evokes cancer spreading. A spectacular pull-back from the endangered planet shows the atmosphere dotted with dozens of hurricane cloud-whorls.
If I had to compare "Noah" to any previous Biblical movies, I'd go with Mel Gibson's "The Passion of the Christ" and Martin Scorsese's "The Last Temptation of Christ," not because the stories are similar (obviously they aren't; Old Testament vs. New) but because, even when you're confused or disgusted or bored, you still feel the director's mad passion radiating from the screen. Aronofsky has made a major, perhaps catastrophic tactical error, in that we can always feel his obsessive certainty but we can't quite translate it into our own terms, as we should be able to do with any fable or cautionary tale that's meant to illuminate or instruct. What's onscreen often feels more like a visual transcript of one man's fantasy or nightmare, with all the baffling or nonsensical juxtapositions of this and that and the other thing left intact, exactly as Aronofsky's sleeping mind first encountered them.
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