[Note: This analysis of the film The Da Vinci Code contains spoilers. Discussing these plot points helps to uncover some of the persuasive devices at play in the film, but those who wish to be surprised should print this out for reading later, or revisit the site.]

(AgapePress) - Da Vinci Code director Ron Howard was given a tall order. First, how do you make a talky thriller work when nearly your entire pre-sold audience has already read the book, and therefore knows the ending? The Da Vinci Code is not like the films made from the Bourne books, which can sustain their tension on action alone. Let's face it, Dr. Robert Langdon, the "symbologist" protagonist of Dan Brown's bestseller, is no Indiana Jones. Second, your supposedly "fact-based" source material that had faded into relative obscurity is now back on the front pages and everyone is reminded that it is a hoax. The answer? Make significant plot changes to keep 'em guessing and deny, deny, deny.

What is important for Christians to know, if they are thinking of using The Da Vinci Code film as an opportunity to talk about their faith, is that some of the plot changes are rhetorical devices designed to make the arguments in the film appear even more persuasive than in the book. Through these changes, Howard has tried to preempt the hoax criticism, use the conversion of a respected, yet hostile-source, character to bolster the credibility of the film's arguments, and try to blunt reaction from Christians by giving them a place (albeit a much smaller place) at the theological table -- all the while making everyone else feel good about themselves.

Preempting Criticism
When a book as popular as The Da Vinci Code claims that aspects of its story are based on fact, it may as well have thrown down a gauntlet to relentless hordes of apologists and historians. The response didn't take long. The major source material for The Da Vinci Code is Holy Blood, Holy Grail, a book that was dismissed by historians as pseudo-history shortly after its publication in 1982. The entire Priory of Sion hoax had been exposed -- the "organization" did not date from 1099, but from the 1950s, built from thin air by Pierre Plantard and "supported" by forged documents surreptitiously deposited in the Bibliothèque nationale de France in the early 1960s. By the time filming began, the filmmakers must have decided that their two fictional scholars, Langdon and Sir Leigh Teabing, would not be ignorant of the hoax claim.

Unlike the book, in which Langdon is depicted as a collaborator with Teabing, the film version of The Da Vinci Code paints Langdon as an unaffiliated lapsed Catholic skeptic who challenges Teabing's conspiratorial assertions about Church history. After Teabing explains to police cryptologist Sophie Neveu about the shadowy Priory of Sion, Langdon explodes, forcefully asserting that the Priory had been exposed as a hoax. Teabing, matching Langdon's intensity, replies, "That's what they want you to think." Of course, he never identifies who "they" are. I guess that the conspiracy now extends to such "friends of the Church" as all of mainstream academia, the New York Times, and the BBC. Using such an argument, Teabing places the conspiracy beyond dispute. Anyone with counter-evidence is merely a part of the cover-up. It is a classic form of the Begging the Question fallacy. It tries to provide cover for those who want to use these arguments to disparage Christianity.

The Reluctant Convert
Another way that the film attempts to make its arguments more compelling than the book is to cast Langdon as a reluctant convert. In the book, when Langdon brings Sophie to meet Teabing it is out of the respect Langdon has for Teabing's mastery of Holy Grail lore. In other words, Langdon is a fan. But in the film, Langdon and Teabing are portrayed as debaters trying to convince Sophie of alternate views of Church history. And while Langdon is not exactly championing the cause of the Church, he constantly throws cold water on Teabing's conspiratorial assertions by at least presenting the other side.

That the Church's position was given any credibility in the film was a surprise. But to have Langdon making these claims -- even lukewarmly -- was a shocking deviation. It seemed designed to let Christians in the audience breathe a little. But I had read the book, so I knew how this would end.

As I watched the film, I could not discern the precise moment that Langdon becomes a convert, but the longer the film runs, the more Langdon begins talking as if Teabing's assertions now have his Seal of Approval. There is something especially persuasive in seeing a respected person move from hostile source to confederate. It's as if to say, "If someone of Langdon's stature is convinced, then why can't I be more open-minded toward these ideas?"

The Unfulfilling Smorgasbord of Postmodernism
But Howard and company keep hedging their bets. They want to have it both ways, and apparently think that New Age polytheism will be okay as long as Christians have a place at the table. By the end of the film Langdon is waffling -- trying to incorporate a personal religious experience with Jesus into this newfound world of goddess worship. What Langdon essentially says is, "Maybe it's all true. Maybe the human is the divine. All that matters is what you believe." Howard's argument is a perfect example of what New York University professor Thomas de Zengotita describes in his book, Mediated: "Name a topic and, presto, everyone has an opinion, everyone can speculate, everyone has a 'take,' as we say nowadays -- implicitly acknowledging that no one has time for much more than that -- so, what the heck. Mine could be as good as the next one. To each his own worldview. Once again, it's all about you."

Christianity's exclusive claims are odious to those who demand an "inclusive" spirituality. The Bible claims truth, and many in the West echo Pilate, asking dismissively "What is truth?" Christ did not come to soothe the world but to save it. It is a demanding process; it cost Jesus His life. No watered-down version will do. The message of the Gospel is not compromise, but loving, "seasoned-with-salt" confrontation.

The Draw
What is it about these kinds of conspiracy-theory, Gnostic tales that people find so compelling? For some it is just the lure of a good, fast-paced thriller -- which is actually in short supply in the film. But I think that some devotees of the book (who are most likely to see the film early) like the idea that they can vicariously be a part of something larger than themselves. By sharing secret knowledge they enter the "in-group" -- joined to the luminaries of the Priory of Sion: Newton, Da Vinci, and Victor Hugo. If they are especially gullible, it might even make them feel smart.

The Opportunity
Despite the bad theology, false history, rhetorical attempts to make the film's arguments more compelling, and the uninspired filmmaking, The Da Vinci Code still represents a unique opportunity for Christians to engage their culture. Just last night, while checking in at a hotel for an academic conference, I spoke for about 30 minutes with a young hotel desk clerk. She was a Da Vinci Code fan, and said that she planned to take her mother to the film today. She thought there was something to the claims in the book, particularly concerning the authenticity and accuracy of the Bible. I introduced her to arguments I learned more than 30 years ago in From God to Us, by Norman Geisler and William Nix. She had never encountered those ideas before. The odds the conversation would have arisen in that lobby would have been small were it not for the presence of The Da Vinci Code to drive it.

In order to take advantage of this theatrical gift, it is not absolutely necessary to endure the film -- people in your sphere will talk about the film and the book. But reading the book and/or seeing the film will heighten your credibility and give you a greater appearance of objectivity when you discuss it. Now you aren't a crank, you are a fellow reader and viewer. But you must be prepared.

Order The Da Vinci Delusion featuring Dr. D. James Kennedy

There are a number of excellent books and articles that Christians can read to have the answers to the questions that arise from The Da Vinci Code. Greg Koukl, from Stand to Reason, and Dallas Theological Seminary both have outstanding articles and resources. MovieMinistry.com has created a Bible study designed for the film that goes beyond the factual debate. It can be used as an outreach to explore the itchy-ear syndrome that has affected a culture that will not endure sound doctrine, and challenges Christians to do something about it.

Films come and go, but the theater screens remain. Before long, and perhaps not too long, The Da Vinci Code will move from the cinema to the video store and other films will take its place. But Hollywood has seen that films with religious content (not necessarily accurate) can attract an audience. These movies will stir people, anger them, make them thoughtful, and (most important) provoke conversation about spiritual issues that might not arise in other contexts. Christians need to remain on the alert so that we can take advantage of every opportunity.