Without a good script, there is absolutely no good film. "Promise" has proved this. With a good script, this is often the case. "The Da Vinci Code" is like that. The director seems to think that the shocking content of the novel alone is enough to shock the audience. As everyone knows, movies as audio-visual art are not as imaginative as literature, and it is difficult to be expressive without the presentation of audio-visual forms. People don't go into the cinema to see things that are commonplace. If you understand historical and religious subjects to avoid the audiovisual elements of blood, violence, and sex, it would be a big mistake. The use of these three is the most basic element of expressive art. Otherwise, it can only be preaching, not art. There is no exception from "Homer" to "Harry Potter". Although the former is a classic epic, the latter is a fairy tale. It's just a different choice.
Facing the Chinese audience, this weakness of the movie "The Da Vinci Code" has become more prominent. Obviously, for ordinary Chinese who do not understand the various sacred classics in the film, this can only be understood as a dull version of "Indiana Jones". (For example, if you don't know that Christ Jesus is walking under the water, you naturally can't appreciate Sophie's joke about tapping water on her toes.) In fact, the director can bring our historian's image closer to Indiana Jones. Who says that historians are inferior to anthropologists? For the novel, the original work has actually combined historical deciphering and action suspense quite well. It is an excellent mystery novel. As for the conclusion of historical research, it is of little importance to the novel itself. Anyway, I can only regard the author's eloquence as a gimmick of artistic suspense creation. At this point, "The Da Vinci Secret" is indeed very successful. Poe is a model in this regard. This writer who specializes in writing "deception" is definitely a rigorous and calm person, just like the French detective Doberman described by him.
If there is anything worth thinking about in the "Da Vinci Code". I am afraid it is difficult to find a trace in the movie. Maybe the director himself did not intend to, or he did not realize it. The only scene in the whole article that is a bit sultry, the grown-up Sophie once returned to her grandfather "Saunière"'s home and saw her and everyone criticizing the monks' robes and performing some kind of mysterious ritual. In the dim, it seems that there are scenes of intercourse between men and women passing by. The director's prediction stopped again, and he never said the beginning again, obviously a little daunting. Those who can think deeply can't immediately think of the dreamlike sixties, the cry of making love, don't fight, flower girls and hippies, and clues to the popularity of Hindu masters and Tibetan tantra in the West. However, everything is like a dream, and the answer is swaying in the wind. The main melody remains, regardless of things.
Of course, the most high-sounding expression is this. Whether or not Jesus married a wife and had children, we can know that religion, like everything in the world, is not static. Should advance with the times. Does this sound like the main theme? This is what an old man said in the National Geographic documentary "Unlocking the Da Vinci Code." The documentary specifically arranges this sentence at the end of the film, which seems to agree.
(If you really have a bit of religious sentiment or love and thinking, I recommend watching another movie "Christ: The Last Temptation". It is indeed shocking. The image of Jesus created from the perspective of cowardice, violence, and sex can be described as bold but not lost. Reason. It’s strange that the reversal of Judah in the whole article is in full compliance with the unearthed document "Gospel of Judah" recently introduced by National Geographic magazine? It can be said to be diligent. Please refer to Ma Xiaohe's article "Gnostic Seth and Manichaeism-- New publication "Research on the Gospel of Judas")
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