The Da Vinci Code - Movie Review

There is probably no one else who would disagree that this film adaptation of the Dan Brown book is one of the most contentious and intriguing.

Before we go any further, let's clarify that "The Da Vinci Code" is neither a direct jab at Catholic religious conservatives nor is it a reserve for readers who have finished the Dan Brown (Langdon) trilogy or their Holy Grail collections. The benefit of this movie is that everybody can watch and comprehend it (provided, of course, that there are practically no restrictions when it comes to cinema admission). But no, this Ron Howard masterpiece has nothing cryptic at all.

Some fans of mysteries and Dan Brown may watch the entire two and a half hours and think it's too dull or anti-climactic. Let's be clear: "The Da Vinci Code" is an adaptation, making it unnecessary to compare the movie to the book. Expect the film to be just like the Harry Potter books, where there are additional details that aren't seen.

I beg to differ on the claim that "The Da Vinci Code" is not faithful to the book, even if I have nothing against books being adapted into movies.

If anything, I think the general idea that is being conveyed and kept alive on the screen is just right and acceptable, particularly for people who have not yet heard the author's name. The story basically begins in one of the Louvre's rooms, where a curator is killed and leaves a number of puzzling clues for his granddaughter Sophie Neveu (Audrey Tautou) and symbologist Robert Langdon to discover. The two are guided through a confusing maze of hints and strange, elusive figures in an effort to find the offender. They eventually receive assistance from Sir Leigh Teabing (Ian McKellen), who ends up becoming the adversary (or, more appropriately, the nemesis, since this isn't that kind of pumped-up suspense) in the story.

Expect zero of those because, as I've already said, this isn't exactly equivalent to those high-flying action or sci-fi blockbusters with all the explosions and amazing feats. Yet, a few automobile chases in the forests and on French roads are to be expected. But all of it is already covered in the book, so I doubt Howard would intentionally let the audience down with a significantly changed portrayal. In this regard, I suppose it seems sense to say that the movie lacks an artistically compelling finale or a lot of momentum. Certainly, the best-selling book that served as the foundation for the entire film is what ultimately accounts for all of its flaws.

The mental stimulation you get as a result of taking in all of that data and information at once is what makes the picture truly worthwhile. The way the facts and other historical stories are presented is astoundingly clear and admirable. Concerned about the numerous religious disputes? Regardless of your level of religious observance (or lack thereof), I can assure you that there is no reason to feel uneasy or uneasy. The film's screenplay, Akiva Goldsman, has done a respectable job of ensuring that the spectator is kept informed of the plot and does not become confused by terms like Priory of Sion, Opus Dei, or The Knights' Templar.

The special effects are another area where "The Da Vinci Code" is thought to be superior to other films in its genre. I'm not referring to egotistically flashy, action-driven effects. Even just the addition of digital graphics during Langdon's brainstorming sessions is impressive. The team should receive praise for the stunning set and backdrop, as well. I am aware that it can be challenging to recreate a church's interior, particularly if shooting inside is prohibited (the original location, that is). Not to mention that you are starting one of the most anticipated movie projects of the past two years at the same time (since the release of the book).

On the other hand, the information could also seem a little too blatantly or obviously presented, as if this were the entire purpose of the movie. Obviously, the details are important, but as we've said before, the creators might have taken things a step further, like adding some mood-enhancing music or scene-enhancing aspects, to break up the monotony or tone down the movie's nerdiness. Certain situations, such as the one where they must recover the curator's safety deposit box and enter a special code, may likewise do without the superfluous drama or cleverness, if you will .

Nonetheless, these are the director's efforts to spice up (or add action to) the mystery search.

Casting-wise, "The Da Vinci Code" assembles an international cast, all of whom are excellent and appropriate for their roles. The novel's notoriety may have put some pressure on the performers, but overall, the actors are as convincing as they can be, and the film treats every character equally. Of course, I had to comment on Audrey Tatou's attempts at English and Tom Hanks' terrible hairstyle, but the fact of the matter is that everyone shines when they are intended to.

Indeed, when I saw how well-suited the other actors were for their different roles, I even forgot about my initial dislike of Tom Hanks being cast as Langdon. Consider Ian McKellen as an example. I can truly sense his relaxed yet upbeat demeanor as he plays the obsessive collector of the Holy Grail as well as the character in a summer blockbuster.

In overall, "The Da Vinci Code" deserves praise for not just adhering to the best-seller fairly faithfully, but also for assembling a cast and a plot that fully captured (and delivered) the project's appeal and scope.