Plot essentially goes like this: In the middle of the night, Professor Robert Langdon (Tom Hanks) is summoned as an expert to a crime scene in Le Louvre where a terrible murder has been committed.
I have not read the book so I will not attempt any kind of comparison.
Do NOT judge it on its usually weak director, do NOT judge it entirely on the source material and do NOT judge it on your religious beliefs. Before you go and see The Da Vinci Code, let all the negative and positive hype surrounding this production cancel each other out, clear your mind, and judge this film fairly. So I suggest not writing this off as a Hollywood hack film, simply because it's the bandwagon thing to do. In their search, Sophie and Robert happen upon evidence that could lead to the final resting place of the Holy Grail, while members of the priory and an underground Catholic society known as Opus Dei give chase, determined to prevent them from sharing their greatest secrets with the world. As Sophie and Robert dig deeper into the case, they discover the victim's involvement in the Priory of Sion, a secret society whose members have been privy to forbidden knowledge dating back to the birth of Christianity. Needing help, Sophie calls on Robert Langdon (Tom Hanks), a leading symbologist from the United States. Hoping to learn the significance of the symbols, police bring in Sophie Neveu (Audrey Tautou), a gifted cryptographer who is also the victim's granddaughter. The stately silence of Paris' Louvre museum is broken when one of the gallery's leading curators is found dead on the grounds, with strange symbols carved into his body and left around the spot where he died. Bravo.Dan Brown's controversial best-selling novel about a powerful secret that's been kept under wraps for thousands of years comes to the screen in this suspense thriller from Director Ron Howard. One does wonder what happened to the planned collaboration with Armenian duduk master Djivan Gasparyan, who isn't present, but it's a small question in the end. No matter what aural side projects are created as a cash-in, this original score will stand on its own and should - if there is any critical or commercial justice - become a classic. While this is to be expected in the larger cues, it's often in the incidental music a score falters, loses its place inside the bigger themes, yet Zimmer's control and vision holds firm and carries the listener on a journey that not only points toward the film it illustrates, but one of deep resonance that borders on the spiritual. It is a genuine creative force and pushes the music into the nooks and crannies where dimension is what makes texture and pace come together in an instructive and creative whole. The use of faux Gregorian chant here is ingenious it never feels contrived or simply layered in for authenticity. The longer pieces, the aforementioned "Dies Mercurii," "Ad Arcana," "Daniel's 9th Cipher," and "Rose of Arimathea" carry within them those necessary elements not simply to color the screen narrative, but to underscore its meaning, its emotional transference, its sense of confusion, terror, and the impending revelation of a truth long buried. The cues on "Fructus Gravis" that assert themselves about a minute in and carry it out on a swirl of strings, soprano voices and piano, provide for one of those moments in film scoring where the entire range of emotion and ambivalence is revealed. Even here, Zimmer holds some of his cards in check, because this theme gives way to more complex shades, colors, and emotions that don't so much resolve as lead the listener in further. The first of these, "Dies Mercurii I Maritus," with its piano and hovering stings, does give way to a large pastoral theme a little over halfway through, but even it is re-introduced by eerie, sparse strings ( Hugh Marsh's solo violin playing throughout is his highest achievement yet in a career full of them) before they begin to pulse with suspense. The high degree of melancholy in the first three sections - "Dies Maercurii I Maritus," "L'Espirit des Gabriel," and "The Paschal Spiral" - creates a remarkably brooding tension and a speculative sense of foreboding. While the music here holds some of Zimmer's trademark dynamic and textural tropes, it is remarkably fresh and expertly nuanced. It is tempting to think that even Hans Zimmer, a composer who has written music for cinema projects large and small - mostly large - for decades, would be intimidated by the responsibility of composing an original soundtrack score for Ron Howard's film adaptation of Dan Brown's pulp fiction blockbuster The Da Vinci Code.
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