Director: Ron Howard
Production Company: Columbia Pictures
Cast: Tom Hanks, Ewan McGregor, Ayelet Zurer, Stellan Skarsgârd, Pierfrancesco Favino, Nikolaj Lie Kaas, Armin Mueller-Stahl
Rating: PG-13 for sequences of violence, disturbing images, thematic material
By Gregg Tubbs
UMC.org—Angels & Demons is a better film than The Da Vinci Code in every respect. More smartly paced, better acted and more finely crafted, Angels and Demons delivers the kind of film one expects from director Ron Howard and star Tom Hanks. As a follow-up to The Da Vinci Code, it carries the baggage of a lesser film that owed its phenomenal popularity to its outlandish religious claims. People of faith can feel more at ease with this film, which sets out to entertain, not outrage and delves even-handedly into the age-old tension between science and religion.
Part of what makes Angels & Demons a better film than its predecessor is that it comes from a better source. Although the film positions itself as a sequel to The Da Vinci Code, “Angels and Demons” was author Dan Brown’s first Robert Langdon novel. When it failed to create much excitement, Brown spiked his next very similar book, “The Da Vinci Code,” with enough religious half-truths, mistruths and age-old myths to set off a wildfire of controversy—and more to the point, generate huge sales.
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Tom Hanks reprises his role as Harvard religious expert Robert Langdon, who becomes embroiled in a desperate fight for the very life of the Roman Catholic Church. Copyright © 2009 Columbia Pictures.
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Stripped free of
Da Vinci’s hokum,
Angels is a pretty successful, straight-forward thriller, set against the breathtaking art treasures of Rome and all the pomp and majesty of the Vatican.
Angels has a different thematic thrust as well
. Instead of debunking religion, it explores the historic struggle between science and religion, specifically the conflict during the time of Galileo. But even this theme takes a back seat to thrills and intrigue. Most importantly, the film treats faith in a more fair and respectful manner.
Ron Howard returns as director and brings more of his A game, delivering a better looking, better-paced movie. Tom Hanks reprises his role as Harvard symbologist Robert Langdon, who becomes embroiled in a desperate fight for the very life of the Roman Catholic Church. The Pope has died under mysterious circumstances, and the four Cardinals most likely to be named Pope have been kidnapped. Only Langdon’s uncanny skill at deciphering ancient religious symbols can unravel the mystery.
Langdon quickly identifies the kidnappers as an ancient brotherhood known as the Illuminati, proponents of science and reason and an organization historically at odds with the Church since the days of the persecution of Galileo. Worse yet, the resurgent Illuminati intends to use an anti-matter time bomb to destroy the Vatican and bring an end to the Church. Angels certainly strains credibility with such an outlandish plot element, but it is not religiously inflammatory.
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Two contrasting Vatican priests—The Camerlengo (Ewan McGregor), the progressive young secretary of the deceased pontiff, and Cardinal Strauss (Armin Mueller-Stahl), the staid, but wise cardinal who officiates at the election of the new pope—symbolize change versus tradition.
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Two central characters in the film are a pair of contrasting Vatican priests. The Camerlengo (Ewan McGregor) is the progressive young secretary of the deceased pontiff who becomes the acting head of Vatican City. He believes that the Church is at a critical crossroads in the conflict between science and religion and urges the Church to end the conflict with "openness." The staid, but wise Grand Elector, the cardinal who officiates at the election of the new pope, represents his opposite. Throughout, these characters symbolize change versus tradition, and to an extent, the belief that science can peacefully coexist with religion rather than being a threat to it.
What’s nice about this film is that these two men of faith, although at the opposite ends of the spectrum, are both portrayed as admirable, sincere, authentically Christian men. The Camerlengo sees the Church as “a voice of compassion in a world spinning out of control.” He truly believes science should be embraced as another aspect of God’s miraculous work, and that the Church can help humanity make sense of disorienting scientific progress. The Elector, for his part, serenely defends the “mystery” of creation, saying, “There are things science is too young to understand.”
In the end, Angels & Demons is at its most stirring not in grand debates and heroic actions, but in small contemplative moments. For example, Langdon confesses almost wistfully that he has not yet received “the gift of faith,” giving the impression that it is a gift he would gladly accept. Another similar moment comes when he tries to brush off the idea that God sent him, a nonbeliever, to save the Church. The Elector warmly responds, “Of course he did.” Although the film never seriously engages the science versus religion debate, moments like these show that Angels & Demons definitely leans toward the side of the angels.
Study Questions
- Did you see the Da Vinci Code? How did you think this film compared? Did it push the same kind of religious “hot buttons”?
- Why would a nonbeliever like Langdon spend his career studying religious symbolism? What does this tell us about him?
- The antimatter is described as the “God particle.” What did you think about that? Do you think science should try to understand the mechanics of creation?
- The Elector said there are some things that science is “too young” to understand. What did he mean? Did you agree or disagree?
- The Elector and the Camerlengo were different and often seemed at odds. How were they different? How were they similar? With which character did you most identify?
- Were you surprised by the “twist” ending involving the Camerlengo? Was he who we thought he was? How did you feel about what he did?
- How is faith a “gift” as Langdon said? Do you think he would like to have it?
- Do you think God sent Langdon to save the Church? Does God ever use nonbelievers for his purpose? (See Joshua 2.)
- Are science and religions mutually exclusive or can they coexist peaceably? How so? Discuss current examples of tensions between science and religion.
- How is the movie’s portrayal of faith fair to religion? In what way is it unfair?
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