O Código Da Vinci

From the way the critics have gone after "The Da Vinci Code," you'd think that Ron Howard himself had been jealously guarding the location of the Holy Grail all these years and was just now revealing it to all the world for his own nefarious (i.e. commercial) purposes. Actually, despite all the critical hostility and rancor, this turns out to be a reasonably entertaining adaptation of a reasonably entertaining novel, far from a classic or a work of art, but hardly the pile of cinematic refuse so many of the reviewers have led us to believe it is.

As a work of history, the novel is a passel of nonsense, and only those with a bent towards conspiracy theory overload would be foolish enough to believe a minute of it. But as a work of imaginative fiction, "The Da Vinci Code" certainly gives its audience the neck-twisting workout they've paid good money to receive.

It would be pointless to reiterate the plot of a novel that has probably had the biggest readership of any literary work since "Gone With the Wind." Suffice it to say that a mysterious murder in the Louvre sends a Harvard symbologist and the dead man's granddaughter on a clue-driven search for the famed Holy Grail. Along the way, the two uncover a grand conspiracy on the part of a renegade Catholic order to protect a secret that, if it were revealed, could shake the whole of Western civilization down to its very foundations.

Despite the phenomenal - one is tempted to say "unprecedented" - commercial success of his work, Dan Brown is no great shakes as a writer; his characters are, almost without exception, drab and two-dimensional, and his dialogue, when it isn't being overly explicit in pouring out explanations, sounds like it was written by a first-year student in a Writer's 101 workshop. But the one undeniable talent Brown does have is his ability to knit together a preposterously complex web of codes and clues into an airtight tapestry, and to make it all convincing.

The movie is very faithful to the novel in this respect. It moves quickly from location to location, never giving us too much time to question the logic (or illogic) of the narrative or to examine the many gaping plot holes in any great detail. Writer Akiva Goldsman has encountered his greatest trouble in the scenes in which the action stops dead in its tracks so that the characters can lay out in laborious detail the elaborate story behind the clues. Yet, this is as much the fault of the nature and design of the novel as it is of the man given the unenviable task of bringing it to the screen. Moreover, perhaps in the interest of time and keeping the action flowing, Robert and Sophie come up with solutions to the myriad riddles much too quickly and accurately, with a "Golly, gee, could it mean_______?" attitude that borders on the ludicrous. But, somehow, Howard makes most of it work. Perhaps, it's the clunky literal-minded earnestness with which he approaches the subject that ultimately allows us to buy into it against our better judgment.

Tom Hanks is stolid and passive as Dr. Robert Langdon, the college professor involuntarily driven into all this cloak-and-dagger intrigue, but Audrey Tautou has a certain subtle charm as Sophie, the woman who may play more of a part in the unraveling of the mystery than even she herself can imagine. Jean Reno and Paul Bettany have their moments as two of the less savory players in the story, but it is Ian McKellen as Sir Leigh Teabing, an expert on all things related to the Holy Grail, who walks off with the film. His scenery-chewing shtick pumps some much needed life into a tale essentially populated by underdeveloped stick figures.

The religious controversy surrounding both the novel and the film is as ludicrous as it is unjustified. Anyone whose belief system could be seriously shaken by this absurd mixture of unsubstantiated myth-making and plain old-fashioned wild speculation couldn't have had a very solid foundation of faith to begin with.

The rest of us can appreciate "The Da Vinci Code" for what it is, an overblown but epic exercise in code-busting and clue-decoding - in short, the "Gone With the Wind" of whodunits.

People seem to hate this movie for some reason, and I remember when it came out, it was really controversial in that it got many bad reviews.

However, years later around three years ago I caught it for the first time on basic cable, and I honestly didn't see what all the criticism was for. Not only was it immersive and intriguing, for the most part, but it had a pretty powerful ending and reveal at the end. It isn't great, so maybe the hype was what triggered so many negative reviews, but it also isn't bad.

I never read the whole book, but understood the premise. If you really want to enjoy this film, you probably should set the book aside and set beside any offense you may take as to the religious conjecture, and just view it as a mystery movie in and of itself. I really enjoyed the ending- the whole final fifteen minutes or so.

7.8/10

I've read the book, and the movie's not so bad. Obviously there are many things I'd do different, but in the end it's 2,5 hours of good entertainment, and isn't that what the ratings are all about? Personally I think Tom Hanks wasn't passionate enough for Robert Langdon. That's why it's not a 9 for me.

A lot of people are too harsh on this one. Mostly because they know the book and have very high expectations. I have to see my first book-to-film where the film is better.

Also, you're not going to hell for watching this movie or reading the book. It's based on a novel, which is based on a few loose theories, but in the end all it wants to do is to entertain. And that is exactly what both the book and the movie did for me.

Last Tuesday, when The Da Vinci Code premiered at the Cannes Film festival, it was met with a chilly reception from the reviewing elite. It has been called "plodding," "stale," and "uninspired," thus, dashing the hopes of many movie goers who were hoping to see one of their favorite novels brought to life by one of their favorite directors, and starring one of their favorite actors. Since I'm not a slave to snobby film reviewers, I went to go see it for myself despite the negative hype. And as the credits rolled at the end of the movie, I felt increasingly unsettled; not because of the quality of the movie, but because one question lingered in my head: What's not to like? Am I crazy for actually being entertained by what I just saw? How could the critics pan what I, and those around me, seemed to enjoy? Okay, so that's more than one question....

First, I have to qualify myself. I read the book and I LOVED it; couldn't put it down. I loved the history, the speculation, the riddles and puzzles, and the masterful blend of fact and fiction. Additionally, I'm not religious, although I was definitely familiar with Christian historical icons such as Jesus, John the Baptist, and Mary Magdelene before I read the book. I also happen to be a big fan of Tom Hanks, Ron Howard, and Ian McKellan.

Having said that, I went in prepared to like this movie, even though I had somewhat lowered my expectations based on the barrage of bad reviews. All of this proved to be a winning formula for me, apparently.

If you're like me and you loved the book and you like the artistic team that pursued making it into a movie, then you'll most likely come out satisfied. You won't mind what many critics have called "overly-long exposition" and historical flashbacks, because that's pretty much what the book consisted of. And in the book, it was absolutely engrossing! So, I personally didn't mind all of the explanation of history, symbols, etc.

Critics have also found fault with Tom Hanks and Audrey Tatou's portrayals of Robert Langdon and Sophie Neveu (respectively), saying that they delivered flat performances. But once again, whoever read the book will remember that both of these characters weren't that dynamic on the written page, either. Of course, Sir Ian McKellan, with the juiciest role of Holy Grail scholar Sir Leigh Teabing, chews up the scenery every time he's shown on screen. Sir Leigh Teabing was also one of the richest characters in the book.

I think that the people who won't like this movie are people who didn't read the book, and are going into the theater expecting a regular movie, which it's not. It's an adaptation of a very wordy, detailed, twisting, speculative novel that blends fact and fiction in a devastatingly effective way, and it's easy to get lost while watching the movie if you don't already know where the story is going. Sure, Ron Howard uses digitized, grainy flashbacks of ancient pagan rituals and societies to move the narrative along and to keep the audience on point, but I can see how it could be overwhelming to those who only know the bare bones of the plot. However, those who found it fascinating in the book will find pleasure in seeing the visual accompaniment to what they've already read.

In short, you go see this movie (or read the book) for how it challenges popularly-held beliefs; not for its rich, engaging character development. It's a quest for the "truth", and in terms of the IDEAS expressed, they did a dag-blasted good job of translating those ideas onto the screen. Those who often complain that movies don't stay true to the books that they're based on will find comfort in the fact that Akiva Goldsman and Ron Howard have stayed incredibly close to the original text when translating it onto the screen. However, this will be to the dismay of those movie-goers who haven't read the book, and are therefore expecting a traditional action thriller with traditional action thriller dialogue.

If you go to RottenTomatoes.com, you'll see the huge disparity between what the critics have said, and what the users have said regarding this film. While the cumulative critics rating is a dismal 22%, the combined user rating is a 74%, which is way above average for the site. That should speak volumes to whoever is skeptical about seeing the movie because of the bad reviews.

The bottom line is that it's definitely a movie worth watching if only to see how the creative team behind it went about turning the best-selling novel into celluloid. It's also a treat to see something in popular culture challenge popular religious ideals so skillfully, even if only in the form of fiction.

My advice: go see for yourself.

CAN WE PUT TO BED 'THE BOOK WAS BETTER'.

The book is always better because you fill in the blanks with your own imagination!!!

You all need to let go of this ridiculous measure for rating a film.

The story in this case is pretty good, the acting is mostly ok and its sets up an effective atmosphere filled with mystique.

Its a good film.