Reviews of Darren Aronofsky’s Noah have been flooding the internet for two weeks now, and feelings appear to be mixed. Religious critics, in particular, have expressed much concern over what they feel are excessive creative liberties, suggesting that Aronofsky has not shown sufficient respect for a text that many regard as sacred. A few have even accused the film blasphemy or of promulgating heretical views like Gnosticism. Most of these criticisms, however, have come from Christians who are unfamiliar with many of the Jewish traditions – like the Talmud, the Rabbinic commentaries and Midrash – that Aronofsky draws from to fill out the details of the sparse Biblical account. The “watchers”, for instance, are Aronofsky’s Tolkein-esque take on the “giants” or “nephilim” mentioned in Gen 6:4 and which are often understood as fallen angels in some parts of the Jewish Midrash (see here). Likewise, the movie’s villain, Tubal-Cain, who is only briefly mentioned in Genesis 5:22 as a decendant of Cain, brother of Naamah, and as an “instructer of every artificer in bronze and iron”, has been discusssed and elaborated on in the Midrash (Genesis Rabba, for instance, names Tubal-Cain’s sister, Naamah, as Noah’s wife) and is later discussed by the medieval Rabbi Rashi who claims his work in bronze and iron “refined the Cain’s craft to make weapons for murderers.” (see, his comment on v. 22, here) Aronofsky is clearly aware of this tradition, and many of the other unbiblical, or perhaps we should say extrabiblical, details can be similarly traced to Jewish tradition, though Shem’s wife, “Ila” as she’s called in the film, is all an invention of Aronofsky’s apparently added simply for dramatic interest later on in the movie (without, I think, fundamentally distorting the story).
Yet what seems to have upset some Christian moviegoers the most is the suggestion that God’s wrath and judgment (in the form of a monstrous deluge) could have had anything to do with a fallen humanity’s violence, devastation of God’s Creation and wanton destruction of nonhuman animals. Wesley J. Smith of the Discovery Institute’s Center for Human Exceptionalism (yes, that’s a real thing), has denounced the movie for being “anti-human” and “radically environmentalist”. For Smith, Aronofsky’s Noah is just the most recent conspiracy in Hollywood’s carefully coordinated “war on humans”. But while many religious commentators have either dismissed the movie wholesale, or have sought to defend it’s every innovation, few have taken the time to explore the potentially illuminating theological questions it raises. Why exactly does God send a massive flood? If humans are somehow responsible, why did so many non-human animals die as well? What is the nature of mankind’s “dominion”? Does God give homo sapiens carte-blanche over the rest of creation, or does it somehow imply responsibility and stewardship of the earth? What about meat-eating? Was Noah really a vegetarian? What about the animal sacrifice at the end of the story (which Aronofsky conveniently omits)? And what are we to make of God’s statement in Genesis 9:3 that “Every living thing that moves shall be food for you”? Doesn’t this conflict with the vegetarian diet God prescribes in Genesis 1:29,30?
In order to make reading here a bit less of a Herculean effort than it has tended to be in the past, I have decided to explore these questions in a series of three shorter posts, instead of all at once. The next post will discuss a focal conflict in the movie over the meaning of dominion. The following post will explore, what, if anything, this story might mean for Christian vegetarians and vegans, who see their “dietary pacifism” as rooted in their Christian faith. The series will end with a third and final post exploring what this passage (along with recent ethological research) might have to say about morality, sin and atonement in relation to nonhuman animals.