Inferno (2016)

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Humanity is the disease, inferno is the cure. The second sequel to The Da Vinci Code begins horribly. By which I mean it looks like one of those cheapo knockoffs you see on The Horror Channel in the wee small hours (and otherwise). A lecturer (Ben Foster) throws himself off a tower after being chased. Robert Langdon (Tom Hanks, returning for the third entry in the series) wakes up in a hospital being tended by a doctor with an enormous overbite (Felicity Jones) – frightening in itself. She tells him he’s been shot while he has terrible hallucinations with blood pouring in torrents and people with faces back to front (you can see how that might happen given the company and a presumed brain injury). He’s lost his memory and has no idea how he’s wound up in Italy. Then some woman pretending to be police murders another doctor and the pair make away from the gunfire with some difficulty given he’s hooked up to IVs all over the shop. He’s been given a painting that depicts The Inferno but his copy contains elements that don’t belong in the original. And so we set off on a chase around the Uffizi and then we’re off to Istanbul and a rather interesting ending in a cave with shades of The Man Who Knew Too Much with some visits to the World Health Organisation in between. The visual palette is awful. It looks just like a brown below-par giallo. There is nothing to indicate that this is any good but its place in the Dan Brown symbology behemoth is typically humourless (despite the presence of the hilarious Paul Ritter) and unimaginative – let’s face it, we’re in Florence with a doctor called Sienna, which would indicate a left/right brain issue and not just Langdon’s. And so it goes. The lecturer though is revealed to be a billionaire keen to solve a global issue. We can all read the legal judgments on where Mr Brown got his stories:  I’ve read Lewis Perdue’s novels so I’ve a pretty good idea. However this is tampering with Dante. I know David Koepp is the rather gifted screenwriter entrusted with the book (and I must put my cards on the table and admit I’ve not read this one) and he’s not responsible for the choices of director Ron Howard (him again) or any aesthetic decisions. Hey – it’s an action thriller with Tom Hanks (paired again with Sidse Babett Knudsen after their desert romp …) and the world overpopulation problem. If you can find those old rose-tinted spectacles (literally) you might quite enjoy some of the incendiary scenes and a somewhat tantalising villain. And some running. Ho. Hum.

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Arrowsmith (1931)

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Sinclair Lewis’ great 1925 novel deals with the temptations faced by doctors who could just go on the lecture circuit and pontificate rather than do good. And these days most of them go on vast junkets financed by Big Pharma and peddle their wares to gullible patients who gobble up anti-depressants and their brain functions are rewired  – a Simon Curtis doc would suggest this was a conspiracy with western governments to suppress protests against the fundaments of modern liberal democracies … looks like the meds finally wore off, eh?! Ronald Colman decides to tackle the plague head-on after missing out on a career-enhancing opportunity, making a fatal mistake with a child suffering from diphtheria and his wife, a nurse (Helen Hayes) loses their pregnancy. He takes off to the Caribbean to fight bubonic plague and meets the woman who will become his second wife (Myrna Loy) while all around him succumb. This vastly truncated adaptation by Sidney Howard was directed at warp speed by John Ford because he was kept off the bottle for the shoot. It’s good to see Hayes – some of us only really know this legendary actress from Disney and Agatha Christie in the 70s and 80s [if anyone knows where I can see The Snoop Sisters please let me know!]; and things liven up with Loy, but her part of the story barely happens. Strange pre-Code version of a work of cultural and scientific significance by a writer who seems to have been a seer in consideration of current events, but worth catching for the performances, Alfred Newman’s score and filling any gaps in your John Ford education.