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But actually the historic Gnostics and the gospels often linked with their circles did not emphasize Jesus’ human nature at all-quite the opposite.
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325, the crucial question was how to reconcile Jesus’ divinity with Christian monotheism.Ĭuriously, The Da Vinci Code presents the so-called Gnostics, who regarded other Christians as lesser beings than they and were in turn treated as heretics, as the heroic defenders of a thoroughly human Jesus. Christians differed not over that basic assumption but rather over how to understand his divine nature.
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In a film full of clues, puzzles and plenty full of something else, it takes one actor registering two emotions to offer a momentary dramatic solution.In fact, in pretty much the entire body of early Christian writings from the first three centuries, Jesus’ divinity is taken for granted. A flicker of anger mixes with a flicker of pain in Reno's eyes.
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There's a nice moment when the monomaniacal police chief realizes another character has abused his trust. The only real feeling in the picture, however, comes from Reno. Tautou, like Hanks, is required to spend much of "The Da Vinci Code" staring at anagrams or running, but she has better hair than her co-star and comes by her grave intensity honestly. It makes Jerry Goldsmith's music for "The Omen" sound chipper. And early on, when one character turns to another and says, "You're in grave danger," you think, well, everyone's in grave danger-of being burned alive by Hans Zimmer's overheated score. Worst, "The Da Vinci Code" goes in for a flash flood's worth of flashbacks, whether to illustrate the brutality of various Christian wars, or to show Langdon falling down a well as a child, or Sophie and her mysterious grandfather. Can't two actors get a little uninterrupted screen time to talk things over anymore? Two editors worked on this picture, and it's some of the most arrhythmic editing you've ever seen, with simple conversations hacked into visual ribbons. Nor does he evince much talent for violence (there's a fair bit of it, all ham-handedly managed, including a particularly brutal whacking of a nun).
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Certainly a looser, fleet-footed adaptation of "The Da Vinci Code" could have been managed, one that knew how to race the slow bits-remember how Ken Russell handled all that Paddy Chayefsky blather in "Altered States"?-while dropping its little corrupt-soul-of-Christianity bombshells and doing its job with panache.īut director Howard isn't much of a panache man and he doesn't have the soul of a thrillermeister. I had hopes going in, fueled by all the successful mainstream examples of standard-issue fiction ("Jaws") or outright lousy kitsch ("The Bridges of Madison County") turned into far, far superior pictures. Ian McKellen, playing a Holy Grail enthusiast, is also on hand to remind us that English actors tend to be better than American ones at simultaneously enlivening and showing up a second-rate Hollywood thriller. But Sophie Neveu (Audrey Tautou), noted police cryptologist and gamine, is on hand to get the plot ball rolling, though it doesn't roll so much as rock, unsteadily. Summoned to the Louvre, Langdon quickly comes under the suspicion of the dogged Inspector Bezu Fache (Jean Reno). Before he expires, the curator leaves an absurd number of clues regarding his big secret. Late one evening, Louvre curator Jacques Sauniere (Jean-Pierre Marielle) is murdered by a self-flagellating albino monk (Paul Bettany) in the employ of a devious bishop (Alfred Molina). (For some reason this bugs me more than any of the more outre suppositions involving Jesus and Mary M. Laboring beneath a haircut that might be called "academic Dutch Boy," Hanks portrays the noted Harvard professor of symbology Robert Langdon, who may be smart but not smart enough to realize Harvard doesn't have a professor of symbology.