"I Need To Get To A Library...!"

Okay, so in no other action/thriller film in history has the main hero character uttered the immortal phrase “I need to get to a library…!” after just outrunning a mad gunman. No man in history would ever dream of saying it while standing next to the gorgeous Audrey Tautou, either. And yet, during the climactic moments of The Da Vinci Code, a major blockbusting action/thriller, leading superstar Tom Hanks does just that. While some people may find the line funny, it tells you more about the film than any synopsis ever can.

But I’ll try and write a good synopsis anyway. Based on the mega-phenomenon that is Dan Brown’s second novel in the Robert Langdon trilogy, the plot revolves around historical intrigue, gruesome murder and an ancient war between the Catholic Church and the Priory of Sion. This secret society knows the truth about the history of the Bible: that Jesus Christ was just a regular guy who married Mary Magdalene and impregnated her before his death. According to the Priory, the child survived the growth of modern Christianity, which is bloody and dark in its formation. Now, in 2006, they are tasked with keeping the bloodline of Jesus alive… until, of course, it all goes terribly wrong, and the Grand Master of the Priory of Sion, Jacques Sauniere (Jean-Pierre Marielle), is murdered along with his three underlings by a crazed albino monk, Silas (Paul Bettany). As he dies, Sauniere leaves a trail of clues around the Louvre Museum in Paris, the place of his murder. These clues help draw visiting American symbologist Professor Robert Langdon (Tom Hanks) and Sauniere’s estranged granddaughter, French agent Sophie Neveu (Audrey Tautou), into a code-breaking web of intrigue, historical scepticism and ruthless danger. Enlisting the help of eccentric English historian Sir Leigh Teabing (Sir Ian McKellen), they travel across Europe on a Grail Quest, understanding that the Holy Grail is not a cup but the knowledge of Jesus and Mary Magdalene’s union and subsequent bloodline. Plot twists, sinister French detective Bezu Fache (Jean Reno) hot on the trail of our heroes and epic flashbacks into the past follow for the next two and a half hours, all beautifully crafted for the big screen.

However, you already knew all that, because Dan Brown’s book has become one of the biggest-selling books of all time, so the chances are you’ve read it, or at least heard about it in one of the many television documentaries or spinoff textbooks that have filled the media in the last year. So going to see the film version of The Da Vinci Code means one of two things: either you’ve read the book, watched the documentaries and have high hopes for the film, or you missed out on the book and are going along because you want to see what all the fuss is about, and you don’t have enough time to read a novel.

In both cases, you will definitely enjoy The Da Vinci Code. Directed by the mega-acclaimed Ron Howard, man behind the camera on such epics as Apollo 13, boasting a screenplay by the talented Akiva Goldsmith and a sweeping, emotive and ultimately powerful score by Hans Zimmer, this film is the very definition of the word “blockbuster”. The cast alone are enough to warrant seeing it. In the lead role, on top form, Tom Hanks plays Langdon like a confused puppy, swept along by the tidal wave of events and piecing together the codes and riddles as and when he can. Whenever Langdon makes a mistake or breaks a code, Hanks makes it totally believable and you feel engaged with his character. Equally engaging is Audrey Tautou, who plays Sophie Neveu with a touch of tragic melancholy. The only time this drops is when Langdon and Teabing relay to her the secret true meaning of the Holy Grail, and she effortlessly switches to horrified, intrigued “Grail virgin” mode while still retaining the main focus of her character. The conclusion of the film centring on her character is made even more powerful and deep due to her superb portrayal of Neveu. Stealing the show somewhat, though, is Sir Ian McKellen, as he always does. Sir Leigh Teabing makes a grand entrance and a grand exit, and between those two points, McKellen provides some quirky British humour while still being totally serious and integral to the historical explanations. Perhaps McKellen’s opposite, Jean Reno is incredibly sinister and frightening as Bezu Fache, as is the demonic yet tragic and strangely sympathetic character of Silas, played with great skill by Paul Bettany. Rounding off the A-list headliners is Alfred Molina, who portrays secretive Opus Dei Bishop Aringarosa. It is a shame that his character isn’t given more screen-time, but nonetheless his moments are a joy to watch, especially his angry confrontation with a room full of Vatican priests.

So what of the message hidden within the line “I need to get to a library…!” then, the message that relays the meaning of The Da Vinci Code? Well, it sends a clear message to films such as xXx, The Fast and the Furious and Ultraviolet. Action/thrillers don’t need massive stunts, don’t need hip-hop soundtracks, don’t need mindless fist-fights and endless chases. The Da Vinci Code succeeds through smart historical presentation, intelligent puzzles and very little action. There is only one minor car chase, a few shots of people running away from other people with guns, and a few exchanged gunshots towards the end. With the clock ticking and a friend in mortal danger, Langdon has no need to say “I need to get to my car!” or “Where’s my rifle? I need my rifle!” The plot of the film requires thought, reason and a quick mind. Therefore, in today’s culture, The Da Vinci Code is an incredibly refreshing break and truly has the virtue of originality.

Technically, the film shines like a jewel. There’s no bullet-time, no tilting camera, very little CGI (and when it is used, it’s for good reason, like in a historical flashback to an earlier Westminster Abbey or to visualise Langdon’s thoughts as he tries to crack a code). The subject matter is treated with respect, and as such you never feel patronised. While some may require things spelt out for them, or would wish for a more basic explanation of the plot, those same people would then grumble that the film went on too long, because as it is, The Da Vinci Code is an impressive two and a half hours long. But providing you pay attention and allow yourself to be drawn into the world of the film for that time, you’ll have no concept of time. Ultimately rewarding and genuinely thought-provoking, every minute of The Da Vinci Code is time well-spent.

You may well snigger at a line such as “I need to get to a library…!” or the ultimate revelation that “You are the direct descendant of Jesus Christ”, but to do so is to assume that this film is trying to be yet another mindless Hollywood blockbuster. It isn’t. Instead, it serves to educate and provide a master class in filmmaking. Regardless of your religious beliefs, because both sides of the coin are respected and supported in this film, The Da Vinci Code will make you think and generate discussion. And isn’t that a rare thing at the cinema these days?