Genesis: The Creation and the Flood

An interesting attempt at a visual representation (set to Paul Scoffield's narration) of the book of Genesis. For the most part, the opening creation is a montage of unrelated images. Then the film moves to a somewhat abstract portrayal of Adam and Eve, Cain and Abel, Tubal Cain, then Noah and his family. Throughout are some quotes from the Psalms, Song of Songs, Isaiah, and I what I am certain are extra-biblical references. One sequence I found very interesting was the use of modern images of war and frenetic city life intertwined with portrayals of ungodly lifestyles in Noah's day to communicate that we are on the verge of God's coming judgment, just as his culture was. Very well done, I thought.

Overall, I give this film a 5/10- I wanted to give it a lot more, but it moves along at too slow a pace, with much of the film work seeming like filler material. This film is a lot less than I expected and I'm not sure I'd have been so quick to buy it ($5 at a garage sale) if I knew what it actually was.

I was very moved by the images in this lyric evocation of the Book of Genesis by the great Italian director Ermanno Olmi, whose TREE OF WOODEN CLOGS is one of my favorite films of all time.

Through a series of painterly images, and the calming, soothing narration of Omero Antonutti (Paul Scofield in the English version,) we are hand-led from the creation of man (in simple, elemental, but effective brush-strokes) to the fall of man, to what constitutes the longest segment of the film, Noah's construction of the ark, and the first of mankind's redemptions. Omero Antonutti plays the old man, the prophet-vessel of God himself as his boat is the vessel of a new humanity. The loading of the animals, the sense among Noah's extended family during the voyage that they are part of something greater than themselves, the dove at Ararat with the olive branch in its mouth, the vista of a subsiding ocean, all create, with the simplest of means, an impression that can be sublimely moving. And we ask ourselves why. What special gift can make a film director convert images, words, and sounds into the sacramental?

The music and musical selections by Ennio Morricone (with a great deal of Bulgarian women's chants incorporated) create a haunting impression as well. One does not have to be a great believer or even a believer at all, to be swayed by this work of wondrous poetry.

The Bible stories of modern times (pretty much since 1970) have tended to be extreme one way or the other.

The trouble is that one extreme tries to make the Bible a depressing bit of racist Nazi propaganda, while the other extreme makes it "Mickey Mouse".

This goes into the Mickey Mouse extreme, but it isn't pretentious about it. It's quite obviously made for kids, and there is no attempt to make it otherwise. That's a bit of a saving grace.

A paraphrase of the earliest parts of the Bible from the Creation to the Flood. Filmed in Morocco in 1994 and narrated in a very subtle fashion by the distinguished Paul Scofield (who does not appear on camera), the movie reminded me of a relaxing water fountain in which the sound of bubbling water captivates. It's simple in tone.

I only wish I knew what the woman was singing in the background throughout many of its scenes. The film ends on a note implying God holds mankind accountable for human life.

Hard to fault a film with that message!

My father rented "The Bible Collection" DVDs over the Easter period, but I was interested in watching only two of these and that was only because of who directed them - this one by Italian film-maker Olmi and the already-reviewed SAMSON AND DELILAH (1996) by Nicolas Roeg.

Of course, as Roeg's film obviously elicited largely unfavorable comparisons to Cecil B. De Mille's 1949 spectacular, so too does this one to John Huston's notorious 1966 biblical flop. Still, much as that film proved a disappointment, its undeniable grandeur is vastly preferable to the ordinariness and quasi-documentary style of Olmi's effort (the star cast Huston assembled certainly didn't hurt - whereas here only Italian actor Omero Antonutti is recognizable at all, as the rest of the cast is comprised of non-professional Moroccans)!

To be fair to Olmi, he handles the events with some imagination - as they're presented in the form of campfire tales narrated by nomad Antonutti (who also takes on the role of Noah) to his people - and the images (accentuated by Ennio Morricone's wistful score) are often poetic...but the over-familiarity of it all and the distinct lack of excitement displayed throughout results in sheer dullness! Thankfully, the film is only around an hour and a half in length - whereas most of the other titles in "The Bible Collection" ran for something like twice that running-time (as does, after all, John Huston's THE BIBLE - IN THE BEGINNING itself). One other asset to the film, at least in its English-dubbed version I watched, is the melodious voice of Paul Scofield (who dubs Antonutti throughout).