THE DA VINCI CODE FILM: A BIBLICAL FEMINIST RESPONSE

Julia L. Butcher

Many reviews of the movie The Da Vinci Code, based on the best-selling book by Dan Brown, already exist from several organizations, churches, and various other Christian-affiliated groups, and complaints regarding biblical and historical authenticity, portrayal of the Catholic Church, and Gnosticism have already been addressed numerous times over. However, addressing the movie from a biblical feminist perspective has largely been ignored. In this review, I will share my opinions on the film itself, compare and contrast some parts of it to the book, and present arguments as to why this film and the “truths” it uncovers are not supportive of women or equality.

With all the hype surrounding this film, one would expect very high quality, especially since it is associated with big names such as Ron Howard, Tom Hanks, Audrey Tautou, and Ian McKellen. However, I came from the film very disappointed. It was not that the acting or directing was particularly bland; I think the director and actors simply did not have great material to work with in the first place. The storyline is so heavily driven by history lessons and controversy that character development is not prioritized. Although the audience may be temporarily excited by chase scenes and lightning-speed code breaking, they are not given an opportunity to become emotionally attached to the characters.

The suspense of the film is one way in which it is similar to the original book. Instead of carefully crafting scenes in which suspense slowly mounts, adrenaline is achieved by less sophisticated methods. The first method of creating suspense is by using sudden, loud noises and movements that are not necessarily associated with the action (an example of this is when windows are suddenly blown shut or when bad guys suddenly rush at the heroes from nowhere). Also, the shock element of the graphic murder and self-flagellation are meant to startle and upset the viewer. Another way suspense is built is by switching rapidly between the different storylines at moments that force the audience to leave the main characters hanging.

The film at times seems to borrow an apologetic tone. Instead of fully embracing the controversial aspects of the book, the writers of the film seem to have expected the large amounts of discontent that would surround the movie, and have softened it in places. In the film version, there are less goddess and pagan ritual references in association with ancient Christianity. Opus Dei as an organization and the Catholic Church as a whole are less responsible for the alleged cover-up and grotesque flagellations, and certain misguided individuals are more to blame. This attempt to soften the implications of Dan Brown’s novel, however, only left me unsatisfied. Since the film is almost entirely founded on controversial material, this glossing over was frustrating, and it weakened the overall storyline.

I was grateful, however, that the filmmakers tastefully chose not to focus on the physical attractiveness of the principal characters, as was the tendency of the book, but instead chose to portray them as sophisticated professionals. However, I was saddened to see that they still chose to convey the historical, symbolic, and artistic background knowledge by having the two main male characters constantly lecturing the woman. This woman is supposed to be a highly educated cryptologist who was raised by an art curator, yet the men are the only characters who are able to solve the codes and impart knowledge.

Although many Christians could and do find a plethora of other issues to debate in this movie, I would like to concentrate on how it does not uphold the values of most biblical feminists. I believe that part of The Da Vinci Code’s popularity stems from its façade of a non-misogynistic, pro-woman portrayal of Christ. For someone who is not familiar with or has become disillusioned with Christianity, the belief system proposed by the book and film may seem like a breath of fresh air. However, the Bible already shows us that Jesus was radically non-misogynistic by having male and female disciples whom he treated with equal respect. Mary Magdalene did not need to be married to Christ in order for Him to break gender inequality. In fact, Mary Magdalene’s worth may be perceived as lessened by her being married to Christ, since it sends the message that a woman cannot be in harmony with herself and others unless she is married. The Da Vinci Code claims that the Holy Grail or the chalice at the Last Supper is actually Mary Magdalene, but even this symbolic image of Mary Magdalene being a chalice suggests that she has no function other than to receive and carry the seed her husband gives her.

In the movie, the main male character, explains that the idea of the Sacred Feminine came from the ancient Greeks who believed that men and women were different species striving to be in harmony with one another. This was symbolized by male deities seeking after the Sacred Feminine. The concept of men and women being separate species opens the door wide for inequality. Even the language used in describing this belief system connotes that men are individuals while women are merely ideals. The image of the Sacred Feminine does not make women equals, but rather, it places them on unattainable pedestals. The deification of Mary Magdalene turns her more into a symbol than a living person who was transformed by grace and intimately loved by God despite her imperfections. Another example of the patriarchal stance of the book and film is that the “Grand Masters”, who are the highest and most important of the Knights Templar, are always men. Even though it was supposedly a woman whom Christ entrusted with his illumination and his seed, she eternally needs her male knights to protect her and her secret. This is also demonstrated by the fact that although Sophie Neveau, the primary female character, originally rescues Robert Langdon, the primary male, she cannot seem to do anything else without him by her side.

Perhaps the most offensive degradation to women of all in this film is its approach to sexual intercourse. According to the belief system of the Sacred Feminine, sex with a woman is the “stairway to Heaven”. On first hearing, this may sound like the mystical union of male and female brings perfection, but it also implies that men are able to reach Heaven while women are merely their means to get there. Egalitarian Christians are sometimes accused of wanting to bring the pagan belief in the Sacred Feminine into traditional Christianity. The reasons above should show that the Sacred Feminine ideology is horribly demeaning to women, and is certainly not embraced by biblical feminists.

It may seem implausible that such patriarchal views would be widely accepted and applauded by today’s secular American culture, and it can be argued that the film never says outright that these beliefs are true or that we should believe them. However, the final scene where Robert Langdon figures out where Mary Magdalene is buried and kneels at her tomb implies that he has discovered the truth and that we would be foolish not to agree with it since everything proposed up to that point is now “fact”.

So, how is a biblical feminist to respond? Other “Christian” responses to this movie have ranged from building Bible studies around the topic to viewing it in groups to boycotting the film. I think it is important for Christians to critically think about why this film is so popular. I believe we can use this film as a gauge for how well the Church is presenting the Bible. Perhaps we need to work harder to imitate the radical respect and inclusion of women that Christ demonstrated while on earth. Perhaps we need to be more diligent in teaching Christians their own church history so that they will not be caught off guard when they are presented with heresies such as Gnosticism that have been circulating for centuries. Perhaps the Church needs to be more open in admitting its past mistakes and failings, and to strive to keep from repeating them. The Da Vinci Code may not have the thrills and chills many people were expecting, and it may be hurtful for many Christians, but it is also an excellent opportunity for Christians to learn what our culture is crying out for and how we can share the truth, love and acceptance of Christ. The Jesus who loves, accepts, and empowers women is not hidden in secret, but is clearly portrayed in the Bible. It is the responsibility of the Church to show this Jesus to a culture that is desperately seeking Him.

Julia L. Butcher is a recent graduate of St. Olaf College and works as the Conference Coordinator at Christians for Biblical Equality. She lives in an intentional community house within Minneapolis. She also enjoys playing the pipe organ, dancing, and helping start a new mission church called Mercy Seat.