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“Noah”, the epic catastrophe of Darren Aronofsky, removed from the most known from all the plots of the apocalypse, begins with the blitzkrieg of biblical scenes: the female hand reaches for the forbidden fruit; hisses, sliding in acid-green grass, snakes; Cain collapses the cobblestone onto the skull of Abel; Thousands of drowned are slowly sinking to the bottom. Noah (Russell Crowe) opens the eyelids, waking up in a cold sweat. A nightmare, the righteous decides, sent him from above, and in order to comprehend the Divine Message, you must get on the road-to Grandfather Mafusail (Anthony Hopkins), living a recluse somewhere in the desert protected by the fallen angels. Mafusail will smile slyly and will hand the grandson a cup of hallucinogen. Soon, Noah will begin to build a giant ark.

The next one and a half hour of the film will be held in the unmeasured dialogue of Noah with the creator - dialogue, one of the participants of which will manifest his presence with outbursts of the miraculous, and the other will pass the cross from fanatical submission through the crisis of faith to the grace of the recognition by the Lord of his existence (always to plunge a little Hegelian dialectics to the mass culture). Alone with their sons, a huge parallelepiped from the corrugation will be built, the story of a long -standing confrontation of the sinful descendants of Cain and the righteous offspring of Sifs will be decided, those same fallen angels - six -handed stone giants with the voices of large characteristic artists (from Frank Lanjell to Net Nolti) will come to the redeem of their sins. Everything is in the broad -angle greatness of the great Hollywood production, with luxurious species filming, a pair of battal scenes and an episode of the flood, which refers to Dore and Francis Danby.

Figging the Old Testament plot into the language of the Apocalyptic-triller, Aronofsky tries to rationalize it first. “Noah” obeys a strange, sometimes ridiculous, logic of the development of the plot, which allows the presence of a fantastic, wonderful, transcendental, but seeks to justify it with the laws of the Hollywood narrative. Stone giants - but with an unresolved internal conflict. Instructions from above - but under the influence of catfish. Genocide for sins - but reduced to a chamber drama about the distraught father of the family. As soon as it reaches the flood, Noah, attending, apparently, the absence of intrigue in the second half of the original plot begins to doubt their own righteousness - and to exhaust his sons, forbiding them to marry and multiply. The Hollywood Catastrof film turns running around the ark, violent (and, frankly, funny) disputes about infertility, the resettlement of Crowe, which moves his eyes like cancer in an attempt to depict insanity, and as a result-the incest prospect of incest in the finalele. All this, just in case, is to explain the episode of Noah with a boor with a HAM and the opening by the builder of the winemaking ark.

The quintessence of reconcosing eclecticism, which Aronofsky chooses as a tool in order to instill in the metaphor psychologism and save the Old Testament plot from some, sorry for the pun, dilapidated - this is the ultra -short episode of the creation of the world. “In the beginning there was a word ...” - says Noah, telling his son the story of a genesis, and Aronofsky triggers a magnificent flashback. The creation flashes before the eyes of an aggressive stop-mowing bombardment: light lights up in pitch darkness, matter thickens to the size of the planet, microorganisms rapidly grow into the fish, they crawl out onto the land, drop off the skin, get into two paws, change the cobblestone in the hand on a police club (literally-Cain and Abel's shadows on the hand of Cain and Abel. Eyes turn around with figures of quite modern outlines). Spectacular, there is no dispute, the episode makes both creationists and Darwinists - a paradox that is not fundamental for Aronofsky. In fact, what difference does it make when you succeed in a couple of minutes what someone needs six days. Who is here, after all, a real creator?