the da vinci code film

after a long post about the book and its mystified symbology, a 20-second review is all i can devote to the da vinci code film.

[please note that from now on i will post my reviews in the homepage for better visibility and then archive them in the art corner.]

the film is more boring than the book: i couldn't believe to my eyes that the screenwriter/director revealed the murderer in the very first scene and that uncovered the teacher's (or rector's) identity before the final, crucial scenes. that way any attempt of suspense was avoided like plague.

visually it was exactly as i pictured it in my mind while reading the book. but no chemistry was hinted between the protagonists, no tension in the quest. moreover no surprises were kept aside for me who knew the plot and was simply interested in seeing how it was developed and adapted from the novel, which i read over one year ago. maybe this is what kept my attention alive.

tom hanks' character was extremely faithful: as flat as a leaf, as liveless as a wooden stick, as impersonal as in the novel. but it was good to see that sophie n. was more forceful and determined than i figured out on the printed pages.

however, there was something i liked in the film: the flash backs bringing the viewer back to the templars' age - the special effects were noteworthy as you would demand from a blockbuster movie; and paul bettany's interpretation of silas was as powerful as controversial for the disturbing self flagellation, his satanic eyes, disfunctional background and miserable (and abused) soul.

oh, and audrey toutou is always lovely as jean reno (star of one of my all times favourites) is always sexy ... even in the role of the dummy investigator Bezu Fache.