What is striking about these assertions is that they are part of a marketing project paid for by Sony Pictures Entertainment, the studio that has invested more than two hundred million dollars in producing “The Da Vinci Code” and distributing and marketing it worldwide. Prospective moviegoers who have spent time at a Web site called The Da Vinci Dialogue, the most polished of these efforts, have been informed that the story is deeply anti-Christian, a pseudo history “fraught with inaccuracies” and “spiritual tripe.” They have been offered the opinion that, of its type, the book was only “moderately engaging,” attracting fans who were easily gulled and perhaps just a bit dim. The Internet, intrinsically hospitable to such a purpose, has grown a busy marketplace of “Da Vinci” debunkers, anticipating the big-budget film version of Brown’s tale, now arriving in theatres. In the three years since the publication of Dan Brown’s “The Da Vinci Code,” a best-selling suspense novel with pretensions to serious scholarship, the work has inspired a vast literature of refutation, including dozens of books and numberless essays disputing the story’s core contentions. The “Da Vinci” phenomenon cuts across both Christian and Hollywood orthodoxies.
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