Fine Adaptation of Dan Brown's Intellectual Thriller

Rating: 9/10 (19 May 2006)

There must be a vast clerical conspiracy to use film critics to convince the movie-going public that "The Da Vinci Code" is a dull, inept, and plodding film, because Ron Howard's adaptation of the best-selling Dan Brown novel is anything but. Although the movie is far from a masterpiece, it does engage the thinking viewer and holds attention for its two-and-a-half hour running time. Like the film version of "Gone with the Wind," Akiva Goldsman's script feels like the entire book has been covered, even though logic tells you that much has been omitted from the long, detailed work. Unfortunately, the script apparently has been softened by political correctness throughout, and several instances of "but that's only a theory" pass between characters that must have forgotten that few Biblical events have ever been proved with incontrovertible historic evidence. However, unlike Oliver Stone's "JFK," "The Da Vinci Code" does not blur the line between history and fiction and, thereby, confuse less-informed viewers. Anyone with the intellectual curiosity to pursue the subject will be more confused by a reading of "Holy Blood, Holy Grail," the book that inspired the novel, than by a viewing of this relatively safe film.
For avid readers of the Brown novel, Paul Bettany perfectly embodies Silas, the albino monk. Bettany captures what could have been a cardboard villain and imbues him with the glow of a true zealot whose trust has been used for evil. Ian McKellen shares top acting honors with Bettany, and, with devilish charm, he effectively carries the heavy burden of expounding the theories and history that surround the Holy Grail. Grainy footage is often used to add visuals to McKellen's historic details about the Knights Templar and to some of the characters' relevant memories. Tom Hanks as Robert Langdon is effective, if not dynamic. His oft-criticized long hair works in the context of the film, and the English of his partner in the search for the Grail, Audrey Tautou, is easily understood. Her accent is nowhere near as thick as critics have declared. Readers of the novel will enjoy the scenes that were shot on location in London's Temple Church, the Louvre Museum, the Rosslyn Chapel, and other sites that are now famous from the book. However, somewhat disappointing is the elimination of any mention of the 19th-century priest in Southern France who gained great power and wealth from something that he found while renovating his old church.
While "The Da Vinci Code" does move slowly, the script has much information to impart, and the film could be termed an intellectual thriller, because the excitement is found more in the pursuit of clues, ideas, and truths than in chases. However, while Hanks and Tautoo have several tense moments, and Bettany provides a few bloody scenes, the movie is not for the action crowd. Unlike "The Last Temptation of Christ," the film is not for religious people who want to explore spiritual issues. Instead, Howard has crafted an intelligent thriller for inquiring minds who are not afraid to ask questions. As a fan of Brown's book, I was not disappointed in this wide-screen illustration of the novel, which may send me back for a second reading. The extent of the conspiracy to degrade the film has even extended to revisionist carping about the quality of the novel, which was generally received as an exciting read. Could countless millions of readers have been wrong? Hardly, and countless millions of viewers of the film will likely enjoy Ron Howard's fine adaptation and later relish some lively conversation.