Bible scholar Robert Price and I were asked about our thoughts on the movie Noah on the Geek’s Guide to the Universe podcast, sponsored by Wired Magazine and hosted by David Barr Kirtley.
The episode (108) first features an interview with author Christopher Moore, who has been rewriting and merging Shakespeare tales from the perspective of different characters in them. This guy does a lot of interesting research for his fiction, and discusses that and how it led to the form of his latest book, The Serpent of Venice, a bizarre comedy-monster-bondage-erotica-horror novel blending Othello and the Merchant of Venice…not kidding, you might want to listen to this half of the show. They also touch on a lot of other things, like the aesthetics of hiding political values in fiction. They even talk about the Noah story a little (between minute 38:40 and 42:10), because Moore wrote Lamb: The Gospel According to Biff, Christ’s Childhood Pal (which the host says is taught in seminaries, although that seems odd).
Our panel starts at 42:52 and goes a little over an hour from there. We laugh a bit and talk about everything Noah. Whether it was a good movie. How far it deviated from the Old Testament story. Where on earth the changes came from, or what the point of them was. What myths are for and how best to react to them. Why Christians who repudiate the film might be showing their true colors a bit more than they intend. You’ll get all kinds of info and analysis from both of us on how the writers of the film took genuine germs of ideas from the apocrypha and Talmud about the Noah tale and expanded them with their own creative additions. Want to know why there are rock monsters? Or why Noah is a militant vegetarian environmentalist? Or where the idea of that exploding crystal came from? Or where on earth they got the idea of Methuselah burning a million soldiers to death by shoving a sword in the ground? Or how the film is actually more Christian than the Bible story itself? Sci-fi and fantasy geeks will be especially amused.
We also ponder what the aesthetic point might have been behind various decisions the filmmakers made (director Darren Aronofsky, who co-wrote with Ari Handel), and compare how they treated this story with how other films treat mythical tales that are safely pagan (and thus no one notices or cares when they change everything). We even touch on the criticism that went around (like Greta Christina wrote about a while back) that the casting might have been a tinge racist.
Near the end (starting around 136:41) we go a little into my work on Bayesian method and the historicity of Jesus, and an unusual new project Robert Price is involved in that is well worth learning about, and whatnot. Check it out!