Paramount Pictures via Everett Collection
Here's a feat: taking what is likely the oldest, most well-known story in the world, and making a retelling feel inventive. Over the course of its two-and-a-half-hour runtime, Darren Aronofsky's Noah takes many forms — Tolkien-esque fantasy, trippy psychological thriller, merciless dissection of the dark points of abject faith — never feeling too rigidly confined to the parameters of the familiar tale that we've all experienced in the form of bedtime stories, religious education lessons, and vegetable-laden cartoons. As many forms as the parable has taken over the past few thousand years, Aronofsky manages to find a few new takes.
The director's thumbprint is branded boldly on Russell Crowe's Noah, a man who begins his journey as a simple pawn of God and evolves into a dimensional human as tortured as Natalie Portman's ballerina or Jared Leto's smack head. Noah's obsession and crisis: his faith. The peak of the righteous descendant of Seth (that's Adam and Eve's third son — the one who didn't die or bash his brother's head in with a rock), Noah is determined to carry out the heavenly mission imparted upon him via ambiguous, psychedelic visions. God wants him to do something — spoilers: build an ark — and he will do it. No matter what.
No matter what it means to his family, to his lineage, to his fellow man, to the world. He's going to do it. No matter what. The depths to which Aronofsky explores this simple concept — the nature of unmitigated devotion — makes what we all knew as a simplistic A-to-B children's story so gripping. While the throughline is not a far cry from the themes explored in his previous works, the application of his Requiem for a Dream, The Wrestler, and Black Swan ideas in this movie does not feel like a rehashing. Experiencing such modern, humane ideas in biblical epic is, in fact, a thrill-ride.
Paramount Pictures via Everett Collection
Although Aronofsky accesses some highly guttural stuff inside of his title character, he lets whimsy and imagination take hold of the world outside of him. Jumping headfirst into the fantastical, the director lines his magical realm with rock monsters — "Watcher" angels encased in Earth-anchored prisons as punishment for their betrayal of God — and a variety of fauna that range in innovation from your traditional white dove to some kind of horned, scaled dog bastardization.
But the most winning elements of Noah, and easily the most surprising, come when Aronofsky goes cosmic. He jumps beyond the literal to send us coursing through eons to watch the creation of God's universe, matter exploding from oblivion, a line of creatures evolving (in earnest) into one another as the planet progresses to the point at which we meet our tortured seafarer. Aronofsky's imagination, his aptitude as a cinematic magician, peak (not just in terms of the film, but in terms of his career) in these scenes.
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With all this propped against the stark humanity of his story — not just in terms of Crowe's existential spiral, but in character beats like grandfather Methuselah's relationship with the youngsters, in little Ham's playful teasing of his new rock monster pet — Aronofsky manages something we never could have anticipated from Noah. It's scientific, cathartic, humane. Impressively, this age-old tale, here, is new. And beyond that feat, it's a pretty winning spin.
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David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
A complete list of 44th Annual Grammy Award winners, announced Wednesday night:
Record of the Year: Walk On, U2
Rap Album: Stankonia, OutKast
Song of the Year: "Fallin'," Alicia Keys
Album of the Year: O Brother, Where Art Thou? soundtrack, Various Artists
Rock Performance By A Duo Or Group With Vocal: "Elevation," U2
New Artist: Alicia Keys
Country Collaboration with Vocals: "I Am a Man of Constant Sorrow," Dan Tyminski, Harley Allen and Pat Enright (The Soggy Bottom Boys), from the O Brother, Where Art Thou? soundtrack
Female Pop Vocal Performance: "I'm Like a Bird," Nelly Furtado
R&B Album: Songs in A Minor, Alicia Keys
Rock Song: "Drops of Jupiter," Charlie Colin, Rob Hotchkiss, Pat Monahan, Jimmy Stafford and Scott Underwood (Train)
Pop Collaboration with Vocals: "Lady Marmalade," Christina Aguilera, Lil' Kim, Mya and Pink
Pop Performance by a Duo or Group with Vocal: "Stuck in a Moment You Can't Get Out Of," U2
Rock Album: "All That You Can't Leave Behind," U2
Male Pop Vocal Performance: "Don't Let Me Be Lonely Tonight," James Taylor
Pop Instrumental Performance: "Reptile," Eric Clapton
Dance Recording: "All For You," Janet Jackson
Pop Instrumental Album: No Substitutions--Live in Osaka, Larry Carlton and Steve Lukather
Pop Vocal Album: Lovers Rock, Sade
Traditional Pop Vocal Album: Songs I Heard, Harry Connick Jr.
Female Rock Vocal Performance: "Get Right With God," Lucinda Williams
Male Rock Vocal Performance: "Dig In," Lenny Kravitz
Hard Rock Vocal: "Crawling," Linkin Park
Metal Performance: "Schism," Tool
Rock Instrumental Performance: "Dirty Mind," Jeff Beck
Alternative Music Album: Parachutes, Coldplay
Female R&B Vocal Performance: "Fallin'," Alicia Keys
Male R&B Vocal Performance: "U Remind Me," Usher
R&B Performance by a Duo or Group With Vocal: "Survivor," Destiny's Child
R&B Song: "Fallin'," Alicia Keys (Alicia Keys)
Traditional R&B Album: "At Last," Gladys Knight
Rap Solo Performance: "Get Ur Freak On," Missy "Misdemeanor" Elliott
Rap Performance by a Duo or Group: "Ms. Jackson," OutKast
Rap/Sung Collaboration: "Let Me Blow Ya Mind," Eve Featuring Gwen Stefani
Female Country Vocal Performance: "Shine," Dolly Parton
Male Country Vocal Performance: "O Death," Ralph Stanley, from the O Brother, Where Art Thou? soundtrack
Country Performance by a Duo or Group With Vocal: "The Lucky One," Alison Krauss + Union Station
Country Instrumental Performance: "Foggy Mountain Breakdown," Earl Scruggs, Glen Duncan, Randy Scruggs, Steve Martin, Vince Gill, Marty Stuart, Gary Scruggs, Albert Lee, Paul Shaffer, Jerry Douglas and Leon Russell
Country Song: "The Lucky One," Robert Lee Castleman (Alison Krauss + Union Station)
Country Album: Timeless--Hank Williams Tribute, Various Artists
Bluegrass Album: New Favorite, Alison Krauss + Union Station
Contemporary Jazz Album: M2, Marcus Miller
Jazz Vocal Album: The Calling, Dianne Reeves
Jazz Instrumental Solo: "Chan's Song," Michael Brecker
Jazz Instrumental Album: This Is What I Do, Sonny Rollins
Large Jazz Ensemble Album: Homage To Count Basie, Bob Mintzer Big Band
Latin Jazz Album: Nocturne, Charlie Haden
Rock Gospel Album: Solo, DC Talk
Pop/Contemporary Gospel Album: CeCe Winans, CeCe Winans
Southern, Country or Bluegrass Album: Bill & Gloria Gaither Present A Billy Graham Music Homecoming, Bill and Gloria Gaither and The Homecoming Friends
Traditional Soul Gospel Album: Spirit of the Century, The Blind Boys of Alabama
Contemporary Soul Gospel Album: The Experience, Yolanda Adams
Gospel Choir or Chorus Album: Love Is Live!, LFT Church Choir, Hezekiah Walker, choir director
Latin Pop Album: La Musica De Baldemar Huerta, Freddy Fender
Latin Rock/Alternative Album: Embrace the Chaos, Ozomatli
Traditional Tropical Latin Album: Dejame Entrar, Carlos Vives
Salsa Album: Encore, Robert Blades
Merengue Album: Yo Por Ti, Olga Tanon
Mexican/Mexican-American Album: En Vivo ... El Hombre y Su Musica, Ramon Ayala y Sus Bravos del Norte
Tejano Album: Nadie Como Tu, Solido
Traditional Blues Album: Do You Get the Blues?, Jimmie Vaughan
Contemporary Blues Album: Nothing Personal, Delbert McClinton
Traditional Folk Album: Down From the Mountain, Various Artists
Contemporary Folk Album: Love and Theft, Bob Dylan
Native American Music Album: Bless the People--Harmonized Peyote Songs, Verdell Primeaux and Johnny Mike
Reggae Album: Halfway Tree, Damian Marley
World Music Album: Full Circle/Carnegie Hall 2000, Ravi Shankar
Polka Album: Gone Polka, Jimmy Sturr
Musical Album for Children: Elmo and the Orchestra, Sesame Street Characters
Spoken Word Album for Children: Mama Don't Allow, Tom Chapin
Spoken Word Album: Q: The Autobiography of Quincy Jones, Quincy Jones
Spoken Comedy Album: Napalm and Silly Putty, George Carlin
Musical Show Album: The Producers, Original Broadway Cast with Nathan Lane and Matthew Broderick, lyricist and composer Mel Brooks
Compilation Soundtrack Album For a Motion Picture, Television or other Visual Media: O Brother, Where Art Thou?, Various Artists
Score Soundtrack Album for a Motion Picture, Television or other Visual Media: Crouching Tiger, Hidden Dragon, composer Tan Dun
Song Written for a Motion Picture, Television or Other Visual Media: "Boss of Me," (They Might Be Giants from Malcolm in the Middle), songwriters They Might Be Giants
Instrumental Composition: "Cast Away (End Credits)," Alan Silvestri (Alan Silvestri)
Instrumental Arrangement: "Claude Debussy 'Doctor Gradus Ad Parnassum' from Children's Corner," Bela Fleck and Edgar Meyer (Bela Fleck with Joshua Bell and Gary Hoffmann)
Instrumental Arrangement Accompanying Vocalist(s): "Drops of Jupiter," Paul Buckmaster (Train)
Recording Package: "Amnesiac (Special Limited Edition)" (Radiohead)
Boxed Recording Package: "Brain in a Box--The Science Fiction Collection," (Various Artists)
Album Notes: (tie) Richard Pryor ... And It's Deep Too! The Complete Warner Bros. Recordings (1968-1992), (Richard Pryor); Arhoolie Records 40th Anniversary Collection: 1960-2000 The Journey Of Chris Strachwitz, (Various Artists)
Historical Album: Lady Day: The Complete Billie Holiday on Columbia 1933-1944, (Billie Holiday)
Engineered Album, Non-Classical: The Look of Love, (Diana Krall)
Producer of the Year, Non-Classical: T Bone Burnett
Remixed of the Year, Non-Classical: Deep Dish, "Thank You (Deep Dish Vocal Remix)" (Dido)
Engineered Album, Classical: Bernstein (Arr. Brohn & Corigliano): West Side Story Suite (Lonely Town; Make Our Garden Grow, Etc.) (Joshua Bell)
Producer Of The Year, Classical: Manfred Eicher
Classical Album: Berlioz: Les Troyens, James Mallinson, producer
Orchestral Performance: "Boulez Conducts Varese (Ameriques; Arcana; Deserts; Ionisation)," Pierre Boulez (Chicago Sym. Orch.)
Opera Recording: "Berlioz: Les Troyens," Sir Colin Davis; Michelle De Young, Ben Heppner, Petra Lang, Peter Mattei, Stephen Milling, Sara Mingardo, Kenneth Tarver; James Mallinson, producer (Various Artists; London Sym. Orch.)
Choral Performance Award: "Bach: St. Matthew Passion," Nikolaus Harnoncourt (Arnold Schoenberg Chamber Orch. and Wiener Sangerknaben; Concentus Musicus Wien)
Instrumental Soloist(s) Performance: "Strauss Wind Concertos (Horn Concerto; Oboe Concerto, etc.)," Dale Clevenger, horn; Larry Combs, clarinet; Alex Klein, oboe; David McGill, bassoon; Daniel Barenboim, piano/conductor (Chicago Sym. Orch.)
Instrumental Soloist Performance (without Orchestra): "Britten Cello Suites (1-3)," Truls Mork, cello
Chamber Music Performance: "Haydn: The Complete String Quartets," The Angeles String Quartet
Small Ensemble Performance (with or without Conductor): "After Mozart (Raskatov, Silvestrov, Schnittke, Etc.)," Kremerata Baltica; Gidon Kremer, violin
Classical Vocal Performance: "Dreams & Fables--Gluck Italian Arias (Tremo Fra' Dubbi Miei; Di Questa Cetra in Seno, etc.)," Cecilia Bartoli, mezzo soprano
Classical Contemporary Composition: "Rouse: Concert De Gaudi for Guitar and Orch.," Christopher Rouse, composer
Classical Crossover Album: Perpetual Motion (Scarlatti, Bach, Debussy, Chopin, etc.) Bela Fleck, banjo (Joshua Bell, violin; Evelyn Glennie, marimba; Gary Hoffman, cello; Edgar Meyer, bass and piano; Chris Thile, mandolin; John Williams, guitar)
Short Form Music Video: "Weapon of Choice," Fatboy Slim featuring Bootsy Collins
Long Form Music Video: "Recording the Producers--A Musical Romp With Mel Brooks," Mel Brooks (with Various Artists including Nathan Lane and Matthew Broderick)
New Age Album: A Day Without Rain, Enya
The music world came together Saturday for "The Concert for the City of New York" to benefit the Sept. 11 attack victims. Stars included Paul McCartney, Elton John, the Backstreet Boys, Billy Joel, U2's Bono, David Bowie and others. McCartney took a special interest in New York's firefighters, passing out about 100 tickets to the event worth $2000. He also premiered his new single, "Freedom," at the concert, Reuters reports. Such a combination of rock, pop and oldies celebrities taking the stage for the charity hasn't been seen since 1985, when the Live Aid concert benefited victims of the famine in Africa.
Pam Grier, star of Jackie Brown canceled her appearance at the High Falls Film Festival (a festival celebrating accomplishments of women), according to The Associated Press. Grier said she would send videotaped remarks instead.
Jay Leno's Harley Davidson has a high bidder. Frank Davis, of Portales, N.M., bid $360,200 for the star-signed "hog," according to AP. Davis appeared on Leno's show Friday telling the host "we want to show this off" and continue raising money for the Sept. 11 attack victims.
Taliban, a new book by Pakistani author Ahmed Rashid was atop the New York Times No. 1 bestseller list for paperback nonfiction, Reuters reports. The book took 21 years to research and write then another two years to find a publisher. Translated into nine different languages, it details the politics and history of Afghanistan's Taliban.
Entertainment Weekly has compiled a list of the 10 most powerful people in entertainment. At the top are the execs behind American Pie 2, Ron Meyer and Stacey Snider, according to AP. Others on the list include Steven Spielberg, Jeffrey Katzenberg, David Geffen, Julia Roberts, Oprah Winfrey and Tom Cruise.
Danish director Lars von Trier, whose Dancer in the Dark won the Palme d'Or at Cannes, will stage Wagner's Ring des Nibelungen in 2006, according to the BBC.
NBC's Providence will be shot in California rather than on location in Providence, R.I., AP reports. The network changed its plans as a result of last month's terrorist attacks.
Cecilia Bartoli, soprano opera singer, won artist of the year at the 25th Gramophone Awards Saturday, according to the BBC. The awards are the Grammys of classical music. Other winners included Murray Perahia, instrumental prize, and Antonio Papano, opera prize.
Joan Collins' most recent project is on stage in London. Neither the play, Over the Moon, nor her performance are getting great marks from the critics, according to the BBC. One critic calls it "an unconvincing comedy" with no "reason for the audience to have sympathy with the characters."