THE DA VINCI CODE
US, 2006, 152 minutes, Colour.
Tom Hanks, Audrey Tautou, Ian Mc Kellen, Jean Reno, Paul Bettany, Alfred Molina, Jurgen Prochnow.
Directed by Ron Howard.
The first thing to say about the movie version of The Da Vinci Code is that it is certainly superior to the book. What we have is something like ‘a Gnostic potboiler’.
It is impossible to review the film simply as a film because the book (more than 40,000,000 sold and counting) and the reaction pro and con has become a worldwide phenomenon. Opus Dei, who are targeted in the novel, have led the way in inviting people to read the book and see the film, even enjoy them, but realise that they are, at least, misleading concerning the Gospel story of Jesus and about Mary Magdalene, that they are based on selected ‘suspicious’, on the margins sources, and that it is all a fiction.
It is a ‘what if…?’ tale rather than a ‘what was’ story.
Actually, writers and film-makers do this all the time – think films about Joan of Arc or Francis of Assisi, which interpret the saint’s life through contemporary eyes and rearrange history and imagine scenes accordingly. They do not, however, play with documents like the quoted Gospel of Philip that was written at least two hundred years after Jesus. But, there is enough material available, pamphlets, books and DVDs on these topics and there are websites galore with answers to difficulties with Dan Brown’s work.
One thing that needs to be said is that the screenwriter, Akiva Goldsman, and the producers have been much more careful to downplay controversy than Dan Brown did. All the way through the film, there are statements about opinions being only opinions, that there are other possibilities to consider. This is especially the case about the discussion on the humanity and divinity of Jesus, Constantine and the Council of Nicaea. The discussion between Tom Hanks and Ian Mc Kellen illustrates this well. As regards Opus Dei and the present Vatican, the screenplay makes clear that neither is responsible for the murderous activities of Silas – rather, the bishop from Opus Dei is part of a hidden and secret group in the Church which wants to renew faith and practice strictly and oust ‘cafeteria Catholicism’. If any group were to feel targeted this time, it might be the followers of Archbishop Lefebvre.
Does it work as a drama? For those who have read the book and liked it, I think it will work quite well. It follows the plot outline closely even if it modifies some of the claims. For those who have read the book and thought it poorly written, their view will be reinforced. A number of those at early previews who had not read the book said they were baffled by some of the plot jumps and developments. (At the first Cannes press screening, there were outbreaks of laughter when the claims about the Grail and Mary Magdalene were finally voiced. The sceptical and secularists in the audience thought this rather ludicrous.)
Tom Hanks is a fair Robert Langdon (and has to do fewer physical gymnastics than in the book). But it is one of his stolid performances and he makes a lot of solemn utterances very po-faced. Audrey Tautou has to be tough and charming as Sophie. It is Ian Mc Kellen who is obviously enjoying himself immensely as Sir Leigh Teabing. He gets most of the fallacious lines about Jesus, Mary Magdalene, the church, cover-ups and the role of the Priory of Sion. One hopes that audiences will not think there is any truth in them because they hear them on screen – from a villainous character who can’t be trusted in the story itself.
Right at the beginning Robert Langdon reminds us that when we look at a painting we see what we want to see and don’t see what we don’t want to see. Exactly.
1. The reputation of the book? The phenomenon of world response to it? Acclamation for its hypotheses? Critique from Christians? The preparation for the phenomenon of the film? Living up to expectations?
2. The comparisons with the book? The screenplay as better writing than the novel? Imagining characters, strength of performance? Use of locations? Art and sculpture detail? The location photography? The differences: the explicit flashbacks and their style? The explanations and alternatives to the hypotheses? The attempt not to be as misleading as the book?
3. The film as what if? Rather than what was?
4. The sources used for the story: gnostic gospels, legends about the Knights Templar, legends about Leonardo da Vinci, his paintings and Mary Magdalen? The Sacred Feminine? The Priory of Sion – as a fiction? The value of the sources?
5. The portrayal of the Catholic church – the truth, the cover-up alleged, the personnel, as organised? As religious? The flashbacks and the picture of the Knights Templar, their history, the reaction of the popes, their condemnation and persecution? How critical was the film of the Catholic church – implications of the cover-up about Mary Magdalen? Audiences believing this or not?
6. Opus Dei as a target of the book? Its reality, the making of a fiction about Opue Dei and its practices? Its tradition of secrecy? The film and its much less criticism of Opus Dei? The criticism of the bishop and Silas? The bishop’s interview and the modification of remarks about its penitential practices?
7. How plausible was the story as a piece of fiction? As a drama? As a thriller?
8. The importance of codes, conspiracy theories? Codes and anagrams? Popularity? The difficulty for readers not familiar with the background? Filmgoers thinking that the theories and the detective work were rather esoteric in theme? Being baffled? The credulity of audiences who believed the theories?
9. The strength of the cast, their performances? The musical score and its mood? Overtones of ‘sacred music’? The use of French language with subtitles, Latin with subtitles?
10. The impact of the locations, Paris at night, the Louvre, the Pompidou Centre, the streets, the banks? The French countryside? The chateau of Sir Leigh Teabing? The sunlight in London, the London streets, Westminster Abbey, the Temple Church? Interiors? The contrast with Scotland, its beauty, ruggedness? Rosslyn Chapel? The vividness of the detail in the artwork?
11. The visual style of the flashbacks? Desaturated colour? Like paintings? Like sketches? The impressionism? Or expressionism? Sensible, the Mary Magdalen flashbacks, the papal flashbacks, the Knights Templar and the battles, the siege of Jerusalem? The flashbacks for the early life of Sophie, Robert, Silas?
12. Saunier and his being pursued in the Louvre, Silas, the threats, the secret, his killing Saunier? The torture, the pentacle on his chest, the blood? Saunier leaving a message to protect the Priory of Sion? The implication of Robert Langdon? The message for Sophie – after his phone call in the afternoon? Langdon and the intercutting of his lecture with the death of Saunier? Sophie and her deception about coming to the Louvre? The message, the PS and the references to ‘petit Sophie’? Her being asked to consult Langdon? Langdon and his thinking Saunier thought he was a lightweight – until the final explanation by Sophie that he was called a flatfoot because his own father was a policeman and a great man? The numbers, the clues, the anagrams? The investigation at the various Leonardo pictures? Finding the fleur-de-lis? This setting the tone for the treasure hunt and the interpretation of the code?
13. The hunt, the clues, the anagrams? The safe and the risk about the wrong numbers? Succeeding in opening the safe? Discovering the rose box? Its code – and the danger of spilling the liquid and spoiling the papyrus? The paintings, the focus on Mary Magdalen, the sangreal, the two ways in which it can be broken: san greal or sang real? The secret literally sub rosa? The map? The Church of San Sulpice, the Rose Line, Silas digging, finding the thwarting message, Job 38 – ‘Come and go no further’? The search in the Temple church? The realisation that they should go to Westminster Abbey? Alexander Pope and the relationships with Newton? Langdon and his ability for photographic regard of numbers etc? His working out the anagrams? The visualising of this? The planets – and his realising that the orb was Newton’s apple? Going to Rosslyn Chapel, the gargoyles? The final tomb? The gathering of the faithful to preserve the Priory of Sion? Langdon and his realising the further clues, not the stars in the chapel at Rosslyn, but rather his return to Paris, the pyramid, the Sacred Feminine, the codes, the camera descending through the tomb of Mary Magdalen? How credible did they make the code and the cracking of the code?
14. Fasche and the meaning of his name: Templar Cross? His skill at investigation, police work, his associate getting Langdon from the book-signing, putting the homing device in his pocket? Fasche’s contact with the bishop, the bishop telling him about the confession by Langdon, his pursuit, concealing the part of the message with Langdon’s name? Convinced that he was the criminal? The false pursuit of the vehicle after Langdon and Sophie threw out the device? The bank and the interrogation of Andre? His discussions with the official, his work with Opus Dei, the official telling him about the United Kingdom? The plane, London, Remy’s death? The arrest of Sir Leigh Teabing? The shoot-out, Silas dead, his police work in tracking him down, the encounter with the bishop, the bishop revealing that he was masterminding the attacks? Fasche and his disillusionment? His letting Robert and Sophie go free when he arrested Sir Leigh?
15. Robert Langdon, Tom Hanks’ presence on-screen, rather serious and stolid, po-faced with all the information he was delivering? His lecture, his comment about people seeing what they want to see and not seeing what they didn’t want to see? A picture worth a thousand words – which words? The students and the ambiguities of the Poseidon imagery, Osiris, the Nativity? His skills, Saunier’s contact with him? Sophie learning to rely on him, her using the phone to warn him? Their examining the body, tracking down the clues with the paintings, Sophie and the briefing? Their escape?
16. The pursuit through the Paris streets, the movie feature of the car chase – and Sophie driving the car backwards? The false ticket for Brussels? Their going to the bank, meeting Andre, the elaborate means of preserving the chests? The numbers and opening it? Andre saving them, his dialogue with the police and trying to sell them his Rolex? The escape into the country, his seriousness about the police, the guard on duty warning him? The threatening them with the gun, their escape? Andre being arrested and interrogated by Fasche?
17. The portrait of the bishop, his name literally meaning red herring! His belonging to Opus Dei, a law unto himself, the sinister group to which he belonged, his travel, the interview on the plane – and his explanation about the limits of penance – after the audiences had seen Silas whipping himself and taking the device off his leg? The explanations? The special group, their wanting to preserve the church – their condemnation of cafeteria Catholicism, wanting to purify the church? Authorising the murders, their hostility towards the Priory of Sion, not wanting to reveal the alleged truth about Mary Magdalen? The contact with the teacher, the money? The bishop and his relationship with Silas, saving him from a brutal childhood, Silas saving him in the church when the robbers attacked? His being a father figure to Silas? The sinister influence, the phone calls, the Latin? The visit to San Sulpice and his authorising the killing? Going to the United Kingdom – meeting Silas, Silas accidentally shooting him? His not being killed? The discussion with Fasche and his disillusionment? The point being made that the bizarre actions were those of people who belong to Opus Dei but not of Opus Dei itself?
18. Silas’s story, his bizarre albino presence and look, seeing him pursuing Saunier, his accent, his violence? Trying to get the information? His going to San Sulpice, the encounter with the nun, her phoning and warning, his killing her? The Job quotation and his frustration? His going to Sir Leigh Teabing’s house, the attack, Sir Leigh attacking him? His being bound and gagged, his animosity towards Sophie? Taking him on the plane, taking him to the headquarters of Opus Dei? His belief that he was doing the right thing? The bishop as his father figure? The killing, his whipping himself, asking God’s pardon? The shoot-out with the police, his killing the bishop? His memories of the bishop and his childhood, brutality, helped, saving the bishop? His death?
19. Remy, as Sir Leigh’s servant, the finger of suspicion pointed to him? The plane, his acting the part of the teacher, his being poisoned? The revelation of Sir Leigh as the villain?
20. Ian Mc Kellen’s performance as Sir Leigh Teabing, serious, comic, whimsical? The expert on the Grail and the Priory of Sion? The jokes about lemon and tea? His welcoming Robert and Sophie? His courtesy? His long explanations and enthusiasm about the Mary Magdalen theory, about the marriage, her pregnancy, going to France? Jesus and Mary Magdalen married? Mary Magdalen to be the founder of the church? The cover-up? Her lineage, the Merovingian kings? The Knights Templar and their guardianship of her tomb? The secrecy? The establishment of the Priory of Sion? Leonardo da Vinci, the Sacred Feminine, no chalices at the Last Supper, John as Mary Magdalen, the superimposition of the closeness, the V shape – and the discussions about masculine and feminine symbols throughout history? The theories? The intrusion, the escape to the plane after the attack on Silas? His being bound and gagged? To Zurich, changing direction to London? Sir Leigh and his treatment of the police, getting the people into the back of his car, the doctor’s appointment? His killing Remy? Confronting Sophie and Robert in the Temple Church? Ready to kill them? Robert and his bluff, interpreting the message – and destroying the container? The police and the arrest – and his final whimsical words?
21. Robert and his claustrophobia, the story of the well? Sophie and her healing hands on his temple? To London, in the bus, the interpretation of signs? The Temple Church? It being the wrong place? The confrontation with Sir Leigh, his interpreting the code? The planets? Going to Westminster Abbey, the orbs? Sir Isaac Newton? Going to Scotland, the church? The visuals of the church, the Masonic and Templar tradition? The people gathering, the veneration of Sophie? The discovery of the tomb site? The build-up the revelation that Sophie herself was the Grail, the descendant of Mary Magdalen and the Merovingian kings?
22. Sophie and her childhood, the flashbacks, the accidental deaths of her parents, her grandfather looking after her? Her searching for information, the alienation from her grandfather? Joining the police, cryptology? Puzzles? Her sceptical attitudes, questions, her ask (asked? Not clear) about belief in God? Her listening, accepting? Sharing the dangers? The final revelation?
23. The final talk between Robert and Sophie, their separation – and her joke about walking on water and water into wine?
24. Robert, his realisation of where Mary Magdalen was buried? The return to Paris, the Pompidou Centre? The triangles, the stars? The camera going to Mary Magdalen’s tomb?
25. How did this all combine as a gnostic potboiler?
