Noah Baumbach's scope blows up to fit all the style and substance of White Noise, a light yet impressive evolution for the filmmaker. lou_kicks' NYFF60 review:
, an iconic novel that opens on a highway crammed to a stop with evacuating families. But in writer-director Noah Baumbach’s screen adaptation, we begin somewhere else, a little further back, in a classroom submerged in lecture: “Look past the violence!” It’s a call to action from professor Murray Siskind to his students, and an invitation to satirical logic for us, the viewers, students in the art of DeLillian critique and maximalism for the next two hours and sixteen minutes.
This plot, like all plots, “moves deathward,” as founder and professor of Hitler Studies at College-on-the-Hill Jack Gladney explains. That’s the nature of all plots, but the phrase applies in excess to. After a brief spell of normality, an “airborne toxic event” creates a pandemic that hovers ominously in the form of a black cloud over life on Earth, leaving people quarantined and displaced, uprooting the Gladneys’ mild, routine suburban life.
Babette and Jack have seven kids from past marriages, four of whom they’re still rearing: Wilder, Denise , Heinrich and Steffie . Baumbach uses a bizarro cast of characters to freshly convey the warmth and comfort that can be found in a partnership or close-knit nuclear family.
Guns—and the violence inherent in them—are a huge topic of discourse, often academically discussed as so many things are in. They kick the film off through a distinctly non-Baumbachian introduction in style—a lecture on the brief history of the weapon, our mass philosophies around it and the violence that stems from it—cut with the zip and punch of a full-fledged action sequence.
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