Cross and Crossed

After seeing red over the so-called blasphemy in the Dan Brown thriller, The Da Vinci Code, the Catholic Church (English Church as well) are angered over Madonna's use of the cross in her opening concert in Los Angeles.

With due respect, they should perhaps relax a bit. The use of the cross in Madonna's concert may not have intended to contain any religious symbolism. Besides, she wasn't rude or anything. And when put in context, the images that ran behind her on the screen, together with the song she sang, Live To Tell, depicted scenes of HIV/Aids-stricken African children in poverty and facts about their suffering. It's all for a good cause really.

The churches should speak, but only after seeing everything. For the well-informed, you make you own mind about this unnecessary 'fiasco.'

I am just going to enjoy the concert footages while in total envy of the numerous Japanese fans who would get to see her again.

Mental: Anagrams+Symbols

The Da Vinci Code
Directed by Ron Howard
Starring Tom Hanks, Audrey Tautou, Ian McKellan, Paul Bettany, Jean Reno
Screenplay adapted from the book by Dan Brown

The Da Vinci Code when viewed strictly on its own merit worked flawlessly as a well-executed mystery thriller. There's mind-boggling suspense, unexplained theories and unresolved mysteries within the span of the film's 150 minutes.

However, when it comes to the subject material, staunch Christians were riled no end by Dan Brown's fiction, calling them blasphemous lies. The published book certainly didn't quite create such a stir back in 2003. Yes, the thing is, in a bid to confine the movie to a reasonable length on screen, part of the intriguing plot in print was left out, making viewers who haven't read the book beforehand guess more than they should.

Dan Brown's postulations were taken too seriously by some quarters. He never really claimed that they were true but merely conjectures based on his research or understanding of the faith.

Now, the acting. I am generally pleased with the performances by the cast despite criticisms that Tom Hanks didn't look the part of the character David Langdon in the book. Well, I thought he did well. Hanks does give the character of the symbologist his own flavor; his constant frown conveyed a sense of urgency in solving the mystery and clearing his name.

The always beautiful Audrey Tautou who plays professional cryptographer Sophie Neveu is perhaps the only likable character throughout the show. The role might not be demanding of her as the sidekick of Hanks' Langdon but Tautou gives a serious performance coming to terms with her grandfather's death and discovering her true identity. It's a welcome departure from the usually impish and wide-eyed roles that Tautou plays.

Ian McKellen's over-zealous historian, Sir Leigh Teabing adds to the mystery when Langdon and Neveu shows up at his door seeking for help to unravel the hidden truth. McKellen's acting prowress is undoubtedly splendid.

Paul Bettany's in his role as the obsessed and self-mutilating-in-the-name-of-god monk, Silas was scene-stealing (he was almost unrecognizable). The conviction in his eyes and behaviour would be one of the pinnacles of the movie as he seeks to further the cause of the religion.

My only disappointment was with Jean Reno. But again, his role was severely limited so we could only see his Opus Dei character Captain Fache pull a long face and all the stops at trying to foil Langdon's and Neveu's plans at every juncture.

No one should really complain at the adequacy of The Da Vinci Code as a functioning thriller despite some of Dan Brown's more ludicrous assertions [In fact, this might spur people, Christians or otherwise, to want to read for themselves the origins of Brown's assertions]. After all, we must remember this is fiction not theology. The way to enjoy the Da Vinci Code on screen is to watch it with a free and unprejudiced mind. (B-)

Aural: Indie Folker Mending Souls

Joanna Newsom
The Milk-Eyed Mender

When a friend passed me the single Sprout and The Bean, I didn't immediately listen to it, thinking that it was some fairy tale song that would be almost too impish for me. I finally played it and loved it instantly. The song is entirely magical with a child-like quality enhanced by the beautiful harp played by the classically-trained Newsom (think of Bjork on Vespertine and Drawing Restraint). A masterpiece I would say. I saw the video and was further entranced by the disarmingly charming visuals that ran across the chalkboard behind her.

I got The Milk-Eyed Mender and I found a gem. Newsom's clever use of the harp gave many of the tracks a surreal and peaceful feeling which tranlsates to a very pleasant experience for the listener. Her voice, reminiscent of Bjork, Emiliana Torrini, Stina Nordenstam and occasionally Kate Bush sometimes bring a slightly heartaching yearning on tracks like En Gallop and The Other Side of Blue.

Recommended tracks include Bridges and Baloons, Spout and the Bean, En Gallop and the absolute mood lifters Inflmmatory Writ, and Peach, Plum and Pear.

Newsom's lyrics may seemingly be irrelevant and somewhat obscure but such is the beauty in its simplicity. Everything of Johanna Newsrom (pint-sized voice, big-sized harp) put together makes The Milk-Eyed Mender a gem worthy keeping and leaves the listener intoxicated... Joanna may never find fame from The Milk-eyed Mender but she's definitely a salvation of today's music. (A+)