Darren Aronofsky’s take on the classic tale of Noah is the Jewish guy’s Bible movie. The narrative, which does remain true to the textual account of Genesis, is crafted in the style akin to a scholarly drash. In another lifetime you might imagine this story to have been generated by a minyan of Talmud scholars poring over the story in their classes. Perhaps that is why the Christian audience has reacted so poorly to the film; it is not, in the words of Walter Hudson, told “from a Christian theological standpoint.” The audience is treated to a wrestling, not recounting, of the text for two very good reasons: A four-chapter story would make for a very short film and Aronofsky, for however religious he may or may not be at the moment, is most definitely 100% a Jew.
Aronofsky’s Noah remains, first and foremost, a story of redemption as it was interpreted thousands of years ago when paired with Haftarah portions in Isaiah (42-43 and 54-55) for the weekly Torah reading. Like the patriarch Jacob, Noah wrestles with God: the battle is a question of original sin and free will. Redemption, Aronofsky illustrates, is a choice entered into by covenant with God. It is not simply a no-strings-attached gift granted to perfectly bad people by a perfectly good looking guy who tests well with focus groups.
Contrary to most Bible epics, a faceless, voiceless God communicates His redemptive plan to Noah through the Biblically prophetic device of a metaphoric dream. “You must trust that He speaks to you in a way you understand,” Noah’s grandfather Methuselah advises. Reminiscent of the Tanakh prophecy “your old men will see visions, your young men will dream dreams,” Aronofsky engages Noah with his aged, wise grandfather, who advises him of Enoch’s prophecy that God would, one day, annihilate the world by fire.