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The plot here revolves around an intellectual belief that Jesus (yes, the Christian Jesus) had a love affair and/or was married to Mary Magdalene, who was in fact pregnant with Jesus’s child at the time of the crucifixion - a fact supposedly known by the Church and covered up.
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The problem is with the “second” book incorporated into this first rate thriller. The plot turns are suspenseful, the mysteries and their solutions clever, even ingenious in some cases. Sophie, knowing Robert is innocent, helps him escape from the Musee du Louvre, and the chase (and puzzle solving) is on. Robert Langdon is drawn into this murder (and its startling aftermath) as the Inspector on the case, Bezu Faches, believes he is the killer. His body is found naked, arms and legs splayed, with writings (written by Jacques in his own blood) which are meant to be secret coded messages to his granddaughter, Sophie. The time it takes Jacques to die is time enough for him to set up the first of the puzzles to be solved. Jacques Sauniere is, as chance and the author would have it, the grandfather of Sophie Neveu. Jacques Sauniere, the curator of the Louvre museum, is shot in the stomach by an albino monk named Silas and left to bleed slowly to death. Both have skill sets, not by accident, which allow for great success at solving puzzles - at least the type of puzzles presented here. There are two protagonists, Robert Landon and Sophie Neveu - Robert an expert on religious symbology and a Harvard professor, and Sophie a cryptologist and Parisian police agent.
THE DA VINCI CODE BOOK REVIEW SERIES
The protagonists are dropped almost immediately into a situation of peril and must extricate themselves by solving a series of puzzles, with one puzzle’s solution granting the privilege of looking at another puzzle, which also requires a solution. Author Dan Brown must either play or at least be aware of computer games the plot has a computer game feel to it. The first is a very good suspense thriller. The Da Vinci Code is, in a manner of speaking, two books in one. And so will you.The book has been sold more copies than any book since the Bible. The Da Vinci Code is a 2003 puzzle spine chiller novel, it pursues symbologist Robert Langdon and cryptologist Sophie Neveu after a homicide in the Louver Museum in Paris makes them end up associated with a fight between the Priory of Sion and Opus Dei over the likelihood of Jesus Christ has been a partner to Mary Magdalene. By the time third act comes round with its big revelations that throw up more questions than resolutions, the director feels just too drained care. With any attempts at character sidelined by the sheer volume of plot, Hanks is a remote, detached presence, devoid of his trademark energy and charisma (he’s also the only Harvard professor to lecture via the Question Of Sport numbers board).Įqually hesitant, Howard’s trademark assurance eludes him - he botches one of the few action sequences through incomprehensible editing as Langdon and Neveu evade the police in a Smart car - and he never hits the right tone to make this hooey digestible.
THE DA VINCI CODE BOOK REVIEW PLUS
Also on the plus side, Bettany’s mad albino henchman - half zealot, half Sith -has some effective moments (wince as he flagellates himself).But the film’s biggest surprise is the lack of engagement of its two major players. So as Langdon and Neveu lurch from mystery to mystery - a Countdown conundrum here, an olde worlde Rubik’s Cube here - there is no sense of solving the mystery along with the heroes as they unravel impenetrable riddles (“So Dark The Con Of Man”) with ease, if little logic - whenever it gets complex, Tautou pops up with an “I-don’t-understand” to induce further plot clarifications.Īfter an hour of Langdon and Neveu prattling around, McKellen’s entry into the proceedings as a doddery Grail authority gives it a real boot up the backside, lending a real zest and twinkle to his difficult scenes of yet more explanation.
THE DA VINCI CODE BOOK REVIEW MOVIE
So how Ron Howard, whose middle brow sensibility would seem a perfect fit for the book’s high minded populism, managed to come up with something so wide of the mark is a bigger mystery than anything dreamed up by Brown.Ī movie so dependent on exposition that there is no room for anything else, be it character, atmosphere, or even action set-pieces, the storytelling operates not through character motivations and desires but through a series of puzzles and clues. All the adaptation needed to do was put Ext or Int at the front of every scene and it was a sure thing.
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Much of the talk surrounding the success of Dan Brown’s The Da Vinci Code concerned how cinematic it was: linear storytelling, short chapters, constant movement punctuated by sporadic violence, all set against a heady backdrop of Big Religious questions.