Some Nice Visual Flourishes in a Muddled Adaptation of Dan Brown's Religion-Fueled Thriller

Rating: 6/10 (23 November 2006)

The dense plot complexities of Dan Brown's novel around the pursuit of the Holy Grail made it a thoroughly entertaining read, but the unending plethora of detail looks contrived and ultimately predictable when translated on screen, especially if you have already read the book. Having Ron Howard helm this 2006 production certainly assures a mainstream-oriented consciousness would predominate, but unfortunately, it also means a lack of pervasive invention when it comes to conveying the dramatic twists and turns of Brown's story. Moreover, Akiva Goldsman's screenplay requires scenes of lengthy exposition which Howard tries mightily to offset with fantasy visualizations of speculative religious history. However, the core problem is that the filmmakers' diligent attempts at remaining faithful to the book make the movie feel overstuffed within its lengthy running time of 149 minutes.
For those who don't know, the focus of the plot is on the hunt for the secrets hidden by the Priory of Sion including the Holy Grail. Some want to protect it, some want to expose it, and some want to destroy it. Harvard professor Robert Langdon and Paris police cryptologist Sophie Neveu, equipped with secrets shared by the murdered curator of the Louvre, Jacques Sauniére, are a step ahead of the police, assassins, and churchmen in full pursuit. After what looks to be a standard murder mystery set-up, the story finally gains momentum in the second hour with the creatively handled explanation for the hidden meanings behind Da Vinci's "Last Supper". A historical labyrinth is presented piecemeal, incorporating the origins of the gospels and the assimilation of pagan rituals and symbols into the early church's practices, all of which showcases the revelatory role of Mary Magdalene in scripture. While Langdon is the nominal protagonist, Sophie emerges as the pivotal character here, especially as they recognize how her past provides keys to vital information that could change history and religion.
Casting is a challenge here since the actors are really there merely to support the convoluted storyline. As dazzling as she has been in Jean-Pierre Jeunet's films, Audrey Tautou of "Amelie" fame is comparatively constrained as Sophie, though she also seems a bit burdened by the verbosity of the role. As Langdon, a lank-haired Tom Hanks is more problematic as his versatility is sorely tested by playing an academically-oriented sleuth. Stealing scenes easily is Ian McKellan as erudite, Grail-obsessed Sir Leigh Teabing. On the other hand, Paul Bettany merely exhibits a fairly one-note malignancy as the murdering albino monk Silas. Also left to their own elliptical devices are Jean Reno as the secretive Captain Fache and Alfred Molina as Opus Dei's designated kingpin, Bishop Sringarosa. The film's plodding pace is offset somewhat by Salvatore Totino's superb cinematography, especially at the Louvre and other European locales.
Thinking back on the film, I keep wondering if it could have benefited more from a fresher director like Darren Aronofsky or Christopher Nolan, or even Quentin Tarantino's pulpish approach since the kinetic thriller elements are ripe enough for his cinematic audacity. The two-disc 2006 DVD set is certainly full of extras. Disc One contains the movie and several previews for upcoming theatrical releases. Disc Two has all the extras, which consist mainly of ten featurettes on various aspects of the production and its translation from Brown's hugely successful novel. The best of the bunch is "The Codes of the Da Vinci Code", which has Howard and Brown explain much of the symbolism used specifically in the film.