
THERE will be those squabbling over the perception of the Noah’s Ark: A Musical Adventure (Cert. U) film in relation to its biblical story. This is in turn to forget the widespread acceptance of the existence of Flood legends and the argument that Gen 6-8 draws a lot of its materials from touching sources of the period in Mesopotamia. However, there is no such concept in the Mesopotamian myth. It depicts the epochs to come, countless Nu images with multiple deities. An overwhelming patchwork of barnacles spread throughout the chronology of scriptures. Now, she serves another purpose in this story. God still loves humanity and seems sad about the lies they weave.
That said, this new take on Noah does part company with the Hebrew Bible in several ways, there are gaps left by the Hebrew Genesis. Viny and Tom, two extraordinarily clever mice, join the Arks as stowaways. They listen to God asking Noah to “Just figure it out” a way to gather a male and female couple from every race. Other people think so- other people think so. But it will quickly become clear that the first line, for example, “then the lion shall transfer in safety with a plump little lamb” will not come true. Fewer small cats, comparatively more stomachs. A situation like that caused by the oppression of little cats cannot happen.
It’s a signal for the mice to turn away from their ears and avoid the dilemma. Music is their defense mechanism to liberate the weak and timid from stronger beasts’ oppression. Probably not a single one of the songs is very striking. After all, none were written by the authors of ‘The Girl from Ipanema’. However, they do provide a brief respite before disaster strikes by sweet-talking Baruk into agreeing to such a performance.
It soon becomes evident that the film’s Brazilian director, Sérgio Machado, uses comic devices to strengthen the moral implications of climate change. He also exposes political and cultural forces that loosen basic human rights to other people. Some theological questioning underlies the whole piece. A young man reproaches God for not being “woke” in terms of Pretty Straight Over, or is God just scrapping ideas about only 1 possible pair? “What about other kinds of families?” If anything, the film overdoes the contemporary relevance of the Ark. The characters are seen portraying different aspects of today’s social milieu taking ‘selfies’, sending text messages, liking photos, subscribing on TikTok, having ‘followers’, and so on.
This graphic tale, in a way, is all too faithful to its literary stay origins where the flood story has been rendered as a speech that demonstrates a God who always extends his grace. Rather like Evan Almighty (2007), which construes the world in such a sense that only single people change it. The perception of God transforming himself from wrath to kindness and grace is again to be envisioned in recent times through depictions such as Darren Aronofsky’s Noah (Arts, 4 April 2014), acknowledging and/or conferring such attributes upon Noah himself. In the book of Genesis, people, regardless of the disastrous events of the flood, seem to have progressed no further in attempting to mend suffocating human nature. Nevertheless, God continues to sin against them seeking to create a perpetual bond in a society encapsulated by rainbows.
Marilynne Robinson, in her recent studies of the book of Genesis (Books, 5 April), observes how the authors, even though through an initially borrowed context, can describe evil and God’s response to it. As they, primordial stories never actually come to closure. Instead, they establish the framework for everything that happens next within the inexorable march of humanity; in which God’s plans are perpetually thwarted but a love that will outlast all keeps fighting.
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