Movie Review: Da Vinci Code
Thursday, April 5th, 2007The Da Vinci Code
Stephen Pierce
To summarize the movie for those who have not seen it: this movie’s plot is based on the idea that Christ married Mary Magdalene and sired a child by her, and that this proved his mortality. According to the movie, the Priory of Sion was formed to protect the evidence proving Christ’s mortality, then to reveal it at a preordained time. Their adversaries in the movie are a small sect within the Catholic Church, Opus Dei, who possess knowledge of Christ’s mortality, and who seek to destroy evidence of it to preserve the power of the Church.
The “Da Vinci Code” is a enjoyable work of fictional entertainment; however it tends to abuse history in its attempts to be believable. To borrow Lewis Black’s theory from “Man of the Year”,
Black: “TV scares me. It makes everything seem credible.”
Secret Service Agent: “Why’s that so bad?”
Black: “Well, if everything seems credible, then nothing seems credible. Y’know, TV puts everybody in those boxes, side-by-side. On one side, there’s this certifiable lunatic who says the Holocaust never happened; and next to him, is this noted, honored historian, who knows all about the Holocaust; and now there they sit, side-by-side. They look like equals! Everything they say seems to be credible! And so, as it goes on, nothing seems credible anymore. We just stop listening.”
The information presented in the movie varies from historically accurate to patently false, but both are shown, as Black says, “side-by-side”, blurring the truth. For example, the blade and chalice, by cursory Google search of several sources, are found to indeed represent male and female, as the movie suggests. However, the Priory of Sion was an association formed in France in 1956 and is NOT an ancient cult. The story is a bit long, but suffice it to say that the founder, Pierre Plantard, aspired to have himself instated as king of France. To that end, he attempted to make up a long history for the Priory, with himself as a long lost heir to the throne, even going so far as to forge historical documents. See Priory of Sion and Pierre Plantard .
The real confusion of history with this combination of truth and fiction stems from the convincing way it is presented in the movie. At the very beginning, the viewer is put in the place of the audience to which Professor Langdon is giving a lecture. This lecture is all about how history can be misinterpreted given a bias, and how one must always seek the truth. This sets up the viewer with the idea that Langdon seeks the truth, and is the viewer’s advocate for truth in the movie, that is he is “on our side”. This plays into an interesting argumentative technique that Dan Brown (author of the book) uses to lend credibility to his work. We (the viewers) are shown the movie from the point of view of the un-knowledgeable. We are made to trust Professor Langdon as our knowledgeable friend who seeks truth throughout the movie, so as he is convinced, we are convinced. Take, for example, the scene
Again, later in the movie, we are put in the position of Sophie Neveu – and again, un-knowledgeable on matters of history – and we watch the debate between Langdon and Teabing about whether or not the premise of the movie is true, that Christ was married to Mary Magdalene and fathered a child. The argument follows a progressive pattern: at first, Langdon is the ultimate skeptic, smiling condescendingly at Teabing, making counterpoints to his points; by the end, however, Langdon’s counterpoints sound like a face-saving move on his part as he grudgingly admits that he might be wrong. This is a twist on the Socratic Method of argument. As an example:
Langdon: [refering to the argument of whether or not Mary Magdalene was Jesus’ wife] “This’s just an old wive’s tale!”
Teabing: “The original one in fact.”
Langdon: “There’s virtually no imperical proof!”
Teabing: “He knows as well as I do, there’s much evidence to support it.”(speaking to Sophie)
Langdon: “Theories. There are theories.”
The stylistic elements of intensity and gritty realism play into the believability of the film. Everything in the movie is true to real life in that it is a plausible – there are no over-the-top special effects to detract from the realistic situations in the movie. The music is darkly suspenseful, and the lighting is low. Actors always seem to have looks of purposeful determination on their faces, when not otherwise occupied with lines. The movie comes of as a “find-the-hidden-treasure” (National Treasure, The Goonies, Treasure Island) with a “time-is-running-out!” feel. The level of violence also adds to the intensity.
This movie was intended for those with a cursory knowledge of history, specifically the religious history of Catholic, Christian, and Jewish faiths. There is a great deal of reference to various historical symbols (the Blade and Chalice, the Rosacrucion cross, etc.), people (Leonardo Da Vinci, Isaac Newton, Jesus Christ, Mary Magdalene), places (the Vatican, the Rose Line, Rosslyn Chapel, Newton’s Grave at Westminster Abbey), and objects (the Mona-Lisa, the Last Supper,the Holy Grail). Armed with this knowledge, the audience is able to ascertain that the objects, people and places are real, but still have to rely on the characters’ specific knowledge – or misinformation – to understand the plot.