A murder inside the Louvre, and clues in Da Vinci paintings, lead to the discovery of a religious mystery protected by a secret society for two thousand years, which could shake the foundations of Christianity.
Three buddies wake up from a bachelor party in Las Vegas, with no memory of the previous night and the bachelor missing. They make their way around the city in order to find their friend before his wedding.
Professor Robert Langdon is in Paris on business when he's summoned to The Louvre. A dead body has been found, setting Langdon off on an adventure as he attempts to unravel an ancient code and uncover the greatest mystery of all time. Written by
The bandage Sophie puts onto her leg, while riding the bus, disappears then reappears later in the movie, with no sign of the injury while it is gone. See more »
Stop now. Tell me where it is.
You and your brethren possess what is not rightfully yours.
I... I don't know what you are talking about.
Is it a secret you will die for?
As you wish.
See more »
SPOILER: In the closing credits, there are special thanks to "Marie de Paris" (Mary of Paris). This refers to Mary Magdalene and her resting place at Paris. See more »
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
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
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.
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