Jornal da Mostra

American version of “Run, Lola, Run” starts off and ends in the Louvre Museum, but the film is entitled “The Da Vinci Code”
French actress Audrey Tautou and Tom Hanks running in London for “The Da Vinci Code”
Nº 409 > 29ª Mostra > 17/05/2006



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Leon Cakoff, de Cannes, para o ‘Jornal da Mostra’
Edição:
Renata de Almeida e Leon Cakoff

American version of “Run, Lola, Run” starts off and ends in the Louvre Museum, but the film is entitled “The Da Vinci Code”

Documento sem título The opening of the 59th Cannes Film Festival was truly spectacular. One of the best-sellers worldwide, "The Da Vinci Code", by Dan Brown, was intended, also, to be the film most seen in cinemas. It`s just that the film owes a great deal to a German production by Tom Tykwer "Corra, Lola, Corra/ Lola Rennt/ Run, Lola, Run", also a world sensation, back in 1998, that Hollywood has always sought to re-film, as with all non-American film successes. The film was re-filmed by Ron Howard with the ingredients from the theoretical-conspiratory book by Dan Brown.

The chase starts on the premises of the Louvre Museum where common mortals are scarcely permitted to take photographs. The paraphernalia required by a giant team for a superproduction and all of the liberties that must have been taken with Federal permission to film in the great wing with the museum`s most famous painting - Leonardo Da Vinci`s "Mona Lisa" - can well be imagined. It will be a worthwhile experience for Parisians. The film, more than did the book, will surely be the driving force for tourism in pilgrimages to the Louvre, no longer to see centuries-old works of art, but to travel the trails of a game of symbols and mysteries of Christianity and a line descended from Jesus subsequent to his supposed marriage to Mary Magdalen.

The race against time does not stop. French actress Audrey Tautou and Tom Hanks hold the key to the mystery in their hands. A villain being necessary, even the Church as a fully-fledged institution, is accused of having kept the descendance of Christ secret for over two centuries, the worst villain being Opus Dei. And the crimes from religious fanaticism are combined with the murders by untiring member Silas (Paul Bettany). He seems to rise from the ashes, as in horror films.

And the chase ends, once more in the Louvre, instigating the enigma of renewed mystery under the museum`s glass pyramid. The formula for success is surrounded by every guarantee. This is a film right not only for Cannes, but for all of France, with tourism as its strongest economic feature. A pity it is that the film will instigate tourism that has nothing to do with any cultural aspect. If, before the "The Da Vinci Code" film, hordes of tourists paid admission to see the Mona Lisa`s mysterious smile (1503-1506), this is liable to become exacerbated. The Louvre will become the Mecca for new Christians who, as do the characters in the film, fancy themselves in quest of the most sacred of fundamentals to humanity. And, what were these supposed to be, again? Run, film-goers, run!

For further information:
www.festival-cannes.org




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