One part I’m not looking forward to is what Brown will have Robert Langdon make of the Voynich: for of all the mysteries I’ve ever seen, the Voynich is surely the least obviously symbol-laden. So, the story of the story is that Dan Brown will once again be wheeling out his “symbologist” Robert Langdon in a Renaissance-art-history-conspiracy-somehow-impinges-on-the-present-day-with-terrible-consequences schtick, but this time in Florence with Dante’s “Inferno” right at the heart of it (hence the title), with only the poor, much-abused Voynich Manuscript for company. But (of course) that wouldn’t fit in 16 letters. Which is in itself a fairly underwhelming starting point, considering that the Voynich Manuscript isn’t MS 408 in “Yale Library”, but in Yale University’s Beinecke Rare Book & Manuscript Library. In Rolf Harris’ immortal phrase, “ Can you tell what it is yet?” I hope you can, because all it is is… a 4×4 transposition cipher of “MS 408 YALE LIBRARY”. Apparently, the proof of this particular pudding is, well, a cipher, one apparently hidden in plain sight on Brown’s website:. Now it’s tedious.The Daily Grail has today’s hot cipher history story: that Dan Brown’s soon-to-be-released novel “Inferno” is somehow based around the Voynich Manuscript. Once upon a time, this wackiness had some novelty value. Soon Hanks and Jones are running through swarms of tourists and gap yah students in Florence and Venice – often finding it very easy to blag their way into super-important art galleries and places of worship where they must decipher weird fragments of sub-Hallmark poetry from centuries lost. There is Dr Elizabeth Sinskey (Sidse Babett Knudsen) and Christoph, a tough guy secretly employed by the WHO - the World Health Organisation, not the supergroup – to find this bio-device. There are many apparently sinister and ruthless people after the secret too – and after Langdon. Soon, flinching and wincing with that awful head pain of his, Dr Langdon is on the case, and of course he has a doe-eyed helpmeet – Sienna, a super-smart hospital doctor played by Felicity Jones. He hides it before topping himself and he’s left a trail of clues embedded in Botticelli’s illustrations of Dante! The tiresome pedant. So he has created a huge poison-bomb which will cull 50% of people. He also believes that the thinning-out process caused by The Black Death gave humanity the breathing space to create the Renaissance. It seems that crazy bearded biotech billionaire Bertrand Zobrist (Ben Foster) has become obsessed with humanity’s imminent demise through overpopulation.
So not only will he have to piece together the upcoming puzzle in the usual way but he will have to piece together his own role in it from the shattered remains of his memory.
He awakens, after a very boring apocalyptic dream-vision, in a Florentine hospital suffering from a head injury and amnesia. Tom Hanks is back – his capacity for wit and ironic charm once again wasted on the role of Dr Robert Langdon, an academic who is sort of a brainier, duller Indiana Jones. What you’re left with is story and character and both are as flat as old, cold pancakes. These bestsellers’ emphasis on culture and art history is refreshingly high-minded in a way, but it has long since dawned on fans and non-fans alike that his wildly silly stories and their concealed clues won’t lead you to anything exciting or insightful about Christianity or the Renaissance any more than Platform 9 3/4 at King’s Cross will lead you to a school for wizards. All the excitement has long since transferred to girls on trains or 50 shades of grey.
#Inferno dan brown ending code
Here is the third Dan Brown film, after The Da Vinci Code and Angels and Demons, but it now seems an awfully long time since his super-tourist semiology thrillers were in any way hot.
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