In Dan Brown’s compelling best seller THE DA VINCI CODE, the code supposedly provides solid proof that Christ may have descendents thus revealing the biggest cover-up in the history of Christianity.  The film is a thriller – the premise being that there exists out there through the centuries, devotees that will stop at nothing to keep the secret from being revealed.  It all begins with famed symbologist, Professor Robert Langdon (Tom Hanks), the central character summoned to Paris after the murder of a curator at the Louvre in Paris.  Aided by cryptologist Sophie Neveu (Audrey Tautou), Langdon unveils the layers hidden in the works of Leonardo Da Vinci that eventually lead to a covet society.  Villains pop up at every instance, attempting to stop them but of course, more ‘truths’ are revealed till the very last reel of the film.

Filmed on location in Paris, London and Scotland, the DA VINCI CODE is stunning to look at.  Though quite a lot happens at the start of the film at the Louvre, it is clear that a bit of it was constructed as a sound stage (at Pinewood Studios).  Actual filming in the Louvre is obviously impossible as the lighting would destroy the painting exhibits. 

Howard is not an action director and it shows.  In one segment where Langdon and Neveu are held at gunpoint, a dove-like bird suddenly swoops upon the head of the assailant allowing the pair to dash through the streets, resulting in a very unexciting chase.  The odd thing is that the surrounding locations are more enthralling to look at than the action at hand.  The action sequences are too often punctuated by the need to explain something.  In this way, the film can be considered to be a difficult adaptation as too much information needs to be conveyed to the audience.  That might be interesting as reading material but not as visuals.  To be fair, Howard makes genuine attempts with bluish hued flashbacks of the past but again these appear out of place in the story-telling and break the momentum of the chase between the keepers of the secret and our heroes.  With a lot of action taking place in France, Howard utilizes French with subtitles instead of having the French actors speak in French-accented English to enhance authenticity.

Tom Hanks is Tom Hanks and the 2-time Oscar winner is always good in whatever film he is in.  In THE DA VINCI CODE, he has a more serious role as the disheveled professor who slowly falls for Neveu.  The script is smart enough to largely ignore the romantic bits.  The film is filled with cameos from French actors and those in the know would be delighted to spot veterans of the French screen from Jean-Pierre Marielle to Etienne Chicot.  Ian McKellen is particularly good as Sir Leigh Tearing.  The scene where he expresses his ecstasy at being part of history lifts the film out the doldrums.  Paul Bettany (GANGSTER #1 and Howard’s A BEAUTIFUL MIND) plays Silas, the killer monk with eye-popping gusto, causing the audience to squirm every time he appears on screen.  The only violence occurs when Silas is on screen.

Christians, Roman Catholics, historians and the Vatican have no fear of the film’s effect on the Christian faith.  Howard’s film plays like fiction though there is much detail in its locations, explanations and research. The dialogue and certain scenes (particularly the one in which Hanks talks to Tautou) even emphasize the importance of faith and how belief is subjective.  But the film is essentially a thriller about a murder investigation with the cover-up as the prime motive.  The stress is the suspense and mystery elements and unearthing of the so-called biggest cover-up of all time rather than the authenticity or the truth of it.  The more the Vatican attempts to prevent the film for being seen – the greater they enforce the belief that the cover up may be a reality.

One thing I always say about Ron Howard films – examples, APOLLO 13, PARENTHOOD and last year’s CINDERALLA MAN is that matter how big his films are, such as the Oscar winning A BEAUTIFUL MIND, hardly anything can be remembered about them a year after viewing.  The same goes for my favourite – THE MISSING and unfortunately THE DAVINCI CODE.  Howard’s next venture is the re-make of the James Dean classic, EAST OF EDEN, one of the most memorable films of all time.  I can hardly wait to see what Howard does with this one.