In the film adaptation of Dan Brown's books about the adventures of the bouncy Harvard professor Robert Langdon ( Tom Hanks ), critics attack from the same directions from where the novels themselves take blows. The artistic value of both texts and films is equally uncompromisingly challenged; the church does not allow the film crew to enter religious buildings and calls for a boycott of tapes and books because of their playful flirtation with Christian doctrine. Most of all at one time got the "Da Vinci Code". In Angels and Demons, the Catholic Church, as an organization, at a critical moment became an ally of the protagonists, and Inferno makes Christian themes only a background for a story similar to an old spy thriller.|
Let the very word "Inferno" (one of the parts of " Divine Comedy " by Dante Alighieri, aka "Hell" ) headlined another adventure of the professor Langdon , and his visualization in the hallucinations of the protagonist looks terribly exciting. God be with him, with the professor, who, together with another companion, still gallops around the famous cathedrals and carefully examines the poet's burial mask. Even the fact that the villain refers to the " Divine Comedy " in his speeches does not play a significant role. Despite all this, Christianity here remained somewhere a symbol, and somewhere just an excuse for the fact that the heroes of Hanks and Felicity Jones need to breathlessly rush between Florence, Venice and Istanbul. Considering, that the plan of the next monster is the destruction of the majority of the world's population by a deadly virus, such a story can be told in any setting: from the cold bunkers of Siberia to some base in the Middle East. But landmarks, medieval cities, and flirting with the secrets of ancient conspiracies are the hallmarks of Langdon's adventures. Otherwise, why would anyone need it?
" Inferno ", even though mysticism and secret societies will not meet onlookers, is a full-fledged triquel. After all, everything else - the Cathedral of St. Mark, along with Florence and the encrypted messages - is in place. Here everything moves according to the usual cliches demanded by millions of fans of the book series, except, in fact, only the personality of the main enemy.
The virus for an extravagant way to control the demographic situation was created by the extremely successful rich man and playboy. Played by Ben Foster Bertrand Zobrist , speaking completely legally to his supporters in the format of a TED lecture, the nightingale is filled with the fact that humanity is a cancerous tumor of the planet that will destroy both itself and the Earth. Putting before the audience the question point-blank whether you have enough courage to destroy many and thereby save a human being along with the world around him, he decides: he has enough.
The filmmakers have an interesting portrait of a possible future villain. Religious sects? Not serious. Freemasons and Illuminati? Old-fashioned. Church? The current Pope is famous for his progressive statements. Terrorists? Beaten up. They were replaced by a young and fashionable fanatic, attractive and successful. With his eloquence and attractive philosophizing, this intellectual has enchanted crowds of fans around the world. He has money and influence, but fans can be quickly converted into supporters when the world needs to be subdued. In general, here, unlike previous films, a stone is thrown not into the garden of religious conspirators, but on the land of real Tony Starks , who either want to organize free Internet throughout the earth, or fly to Mars - damn them knows what else they are thinking up there.
Another fresh detail in all this action is an unexpectedly sharp start, adding " Inferno " two characteristics: fast pace and complicated intrigue. Professor Langdon wakes up in the hospital with a head injury and partial memory loss. He does not remember where his wound came from, nor how he ended up in Florence. He suffers from headaches and hallucinations. In shades of red and brown, the professor sees sinners with ulcers and curled necks, rivers of blood, burning buildings, hell and horror. Visually, the film by Ron Howard entertains the viewer with surreal fragments reproducing the " Map of Hell " Botticelli , and reportage shooting during chases and escapes. Actually, the first chase will happen just a few minutes after the start of the film and set the pace of the story for the entire two hours.
Langdon's amnesia , as it were, starting the narrative from the middle, endless pursuits diluted with surrealistic visions, and the timekeeping reduced to two hours make " Inferno " a fast-paced entertaining picture. The character of exceptional entertainment is reinforced by the fact that there are no longer even half attempts to express something or ask the viewer an easy problem. Pseudohistoricity, as always, flows like a river, in the appendage there is a downpour of more and more mysteries and secret hints, finally, plot twists and turns with meteorites fall. Faster, more, brighter. The viewer is only required to open his mouth and wait until he is fed his favorite dishes.
" Inferno " is an excellent example of film fiction. The surnames Holmes , Bond and Jones once again formed the word "Langdon" , the elimination of church themes made the story much easier , hallucinations diluted the familiar interiors of medieval temples. Two hours of an unpretentious historical detective will not let you get bored on the bus. They will look great on your kitchen TV during dinner. Yes, and accidentally stumbling upon this film while flipping channels, the viewer runs the risk of watching " Inferno " to the end, without wanting to. The new part of the adventures of the Harvard professor is just a new part of the adventures of the Harvard professor. But nobody expected more, did they?
The Topic of Article: The professor is not a mug. Review of ”Inferno”.