J and I caught the noon showing of The Da Vinci Code Saturday. We liked it very much. So much of Hollywood these days consists of formulaic crap–action thrillers offer nothing more than state-of-the-art special effects (their screenplays could be written by junior high kids); and comedic films seem to be nothing more than a retread of the same comedic films released last year.
What I appreciated about The Da Vinci Code is that the action is in the development of the plot, in the sharing of information and the release of clues. Sure, the French police and the destroying angel of the Opus Dei faction of the Catholic Church are hunting down our protagonists. But the real fireworks, in my opinion, is far more cerebral. Many critics have called this approach to the novel, droll and dull. I admit that it was slow at times. But when the plot itself relies solely on obtaining and learning information, these slow moments are forgivable, and by far not disinteresting.
Much has been written about the acting. One critic called Tom Hanks’ performance as Robert Langdon, "wooden." I disagree. I thought he made a perfect professor– affable, intelligent, witty, quick-thinking, slightly introverted, and thoughtful. It surely would have been unrealistic if Hanks would have turned his professor (of religious symbology, no less) into a bigger-than-life, Indiana Jones or James Bond-type, exuding charisma and confidence.
Hanks’ performance may have appeared "wooden" because of Ian McKlellan’s performance as Sir Leigh Teabing. McKlellan really shines as the crippled professor Langdon and Sophie visit for more information regarding the priorie. I don’t know if there isn’t any character this man can play. Amazing. He’s my bid for a best supporting actor nomination.
Likewise, Audtrey Tautou (known for her amazing performance in the French film Amelie and the wonderful World War 1 film A Very Long Engagement) was cast well as strong-willed French police detective, Sophie Neveu. Her angelic-looking face captivates, more than anything, and plays so well into the plot revelation near the end.
Paul Bettany’s turn as Silas is also dynamic.
Finally, the visual effects of The Da Vinci Code are wonderful, many of them used to display historical events or events that occurred to the characters in their past. Most impressive of these is the scene of the French attacking Jerusalem. Another visual effect that was most fascinating occurs when Langdon is attempting to decipher the code of the rose box. As he calls to mind the symbols and planets engraved upon one of the tombs they had just visited, the planets display in mid-air and form a live universe; and the symbols and letters appear, as if they are telling him the answers to the code. This same visual device was used in last year’s wonderful film The Bee Season, starring Richard Gere and Juliet Binoche.
Ron Howard’s adaptation is cerebrally stimulating, even intriguing. Because of its theme, though controversial, will endear it to many Dan Brown fans. For this reason, it should stand the test of time.
*****
On Friday, The Da Vinci Code brought in $29 million dollars at the box office, placing it in the top ten best openings on box office records. It went on to make $77 million dollars in North America, just shy of the $80 million predicted. Worldwide, however, the film amassed a $224 million dollar take, making it the second biggest opening on record, behind Star Wars Episode 3: Revenge of the Sith. (See details here.)
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