Não li o livro, não sei a história, mas gosto da polêmica, e vou ver o filme ...

09/05/2006 - 19h57
Deputado quer proibir "O Código da Vinci" no Brasil
DIÓGENES MUNIZ
da Folha Online

O deputado federal Salvador Zimbaldi (PSB-SP) quer impedir que o filme "O Código Da Vinci", inspirado no best-seller de Dan Brown, seja exibido no Brasil. Segundo ele, "a obra é uma afronta à fé cristã", já que coloca em xeque as histórias oficiais de Jesus Cristo e de toda a Igreja Católica. O filme tem estréia marcada para dia 19 deste mês.

Para Zimbaldi --membro da Renovação Carismática Católica há 25 anos--, o caráter ficcional do livro de Dan Brown não diminui seus efeitos "perniciosos".

"O problema é que o autor tenta dizer que descobriu uma verdade. Dan Brown é um inventor de coisas e de fatos, porque a verdade que é conhecida ao longo dos séculos é a da Bíblia Sagrada", afirma.

"Pensei em acionar o STF (Supremo Tribunal Federal), mas descobri que não seria possível. Então, entramos com uma medida cautelar na 2º Vara Cível do Fórum Regional de Santo Amaro (em São Paulo) contra a produtora e distribuidora Sony Pictures".

A medida cautelar foi recusada e o advogado de Zimbaldi, Affonso Pinheiro, já apresentou apelação. O resultado sai em 48 horas.

Inconstitucionalidade

Zimbaldi e seu advogado alegam que tanto o livro quanto o filme "agridem a liberdade de crença", o que é inconstitucional. Outros fatores contrários à Constituição, segundo Zimbaldi, são "os atentados a fatos históricos que fazem parte da colonização do Brasil."

A história do filme se concentra na tese de que Jesus Cristo se casou com Maria Madalena, com quem teve um filho e cuja descendência continuou até a atualidade, protegida por uma ordem secreta conhecida como Priorado de Sião.

Por causa da possibilidade desse casamento, o grupo conservador católico Opus Dei estaria assassinando seus descendentes para proteger tal segredo.

Censura

O deputado nega que esteja tentando censurar o filme. "Não há censura neste caso, mas sim defesa da verdade. O direito de um termina onde começa o de outro", afirma.

Zimbaldi diz estar cumprindo com seu "papel de deputado, cristão e católico.". "Só estou fazendo minha parte, assim como a Opus Dei na Inglaterra está brigando judicialmente".

Procurada pela Folha Online, a produtora e distribuidora de "O Código da Vinci", a Sony Pictures, ainda não se pronunciou sobre o caso.

eu tb vou ver, apesar de não gostar do livro. Mas li vários livros sobre o "aasunto" - Holy Blood, Holy Grail; A Herança Messiânica, Rex Deus etc etc etc.

Tá vendo que bom. Eu nunca tinha ouvido falar em Salvador Zimbaldi e agora graças a Dan Brown o ilustre representante dos tchucarramães se faz conhecer...
Também quero ver...me parece uma história interessante...poderíamos fazer uma sessão A Saidera no cinema, combinamos um dia e vamos todos juntos.

Zimbaldi e seu advogado alegam que tanto o livro quanto o filme "agridem a liberdade de crença", o que é inconstitucional.

Porra, e se eu tiver a crença de que foi exatamente igual à ficção browniana? A ação do deputado vai contra a minha crença, que é inconstitucional....Tortinho, né? Pra mim liberdade de crença é vc poder crer no que quiser e não ser prejudicado por isso, seja crendo em A ou crendo em não-A. A liberdade de crença está garantida se as pessoas tiverem a liberdade de crer no que quiserem mesmo que exista e que se divulgue outras crenças...
Vai trabalhar, seu Zimbaldi!

Tortinho, né?

Isso que adevogado tem aula de lógica na faculdade...

essa ´matéria é do Wall Street Journal. Tb saiu uma boa sobre a Op*s Dei na
Time da semana passada.

How Op*s Dei Tries
To Break the Spell
Of 'D* Vinc* Code'

Plan Was to Ignore the Book,
But as the Movie Loomed,
A PR Offensive Bloomed
By STACY MEICHTRY and ANDREW HIGGINS
May 19, 2006; Page A1

On a visit to New York in March 2003, Juan Manuel Mora, global
communications director for the conservative Roman Cath*olic organization
Opus Dei, was strolling down Second Avenue with his deputy. A bookstore
window brimming with copies of "The Da Vinci Code" caught their eye.

The novel, which depicts Opus Dei as a sinister cabal fond of murder and
masochism, had only just been released. Mr. Mora's American colleague
already sensed trouble ahead, but Mr. Mora told him not to worry.



"Nightmares don't last long," he recalls saying. "You wake up the next day
and forget it ever happened."

Three years later, the bad dream continues. And it got worse this week,
with the world-wide release by Sony Pictures Entertainment of the movie
based on D*n Br*wn's best seller. The novel has upset many Christians,
particularly Catholics, by promoting the theory that Jesus fathered a child
with Mary Magdalene. There are now 60 million copies of the book in print
around the world.



Mr. Mora, Opus Dei's communications guru, is trying hard to break the
spell. The Catholic group, whose name is Latin for "work of God," is
mimicking the tactics of a global corporation confronted with a
public-relations debacle. Mr. Mora says his team of Opus Dei PR experts has
crafted a strategy to "turn lemons into lemonade." The aim: convert
negative publicity into a sweet marketing opportunity to promote the
group's charity work and core Christian beliefs.

The organization, which has more than 87,000 members around the world, has
opened its local centers to press and public. It has published articles and
booklets explaining its purpose and rebutting what it calls grotesque
distortions by Dan Brown. It has redesigned its Web site (opusdei.org),
too. Visits to the site hit 3 million last year, up from 674,000 in 2002,
the year before the book came out.

"We had to get totally naked to confront this problem," says Mr. Mora, a
jovial 47-year-old Spaniard who teaches communications at Rome's Pontifical
University of the Holy Cross, which is run by Opus Dei.

His expertise has brought badly needed skills to an organization dogged
from the start by a reputation for creepy secrecy. Founded in 1928 by
Spanish priest Josemaría Escrivá, Opus Dei has been accused of supporting
dictatorships from Spain to Latin America and of brainwashing members.



Tom Hanks and Audrey Tautou star in "The Da Vinci Code."
Its fictional image in "The Da Vinci Code" is even darker. One of the
book's main heavies is Silas, a homicidal albino monk and Opus Dei member
with a weakness for self-flagellation.

One fact-based detail from the book has proved to particularly troublesome,
however. That is the cilice, a barbed chain that is strapped around the
thigh and used for self-mortification.

In the book, Silas sports a cilice (pronounced SILL-iss). Most ordinary
members, known as supernumeraries, don't wear one in real life. But
so-called numeraries, full-fledged devotees who take a vow of celibacy and
live in Opus Dei centers, do. The idea is that the pain caused by the
device reminds the wearer of Christ's suffering on the cross.

"The famous cilice is extremely burdensome from a public-relations
standpoint," concedes Marc Carroggio, Mr. Mora's deputy in Rome.

Brian Finnerty, Mr. Mora's American colleague, says he was dismayed to see
a trailer for the film showing a shot of the cilice and Silas with blood
flowing down his leg. The portrayal is "grossly exaggerated," he says, as
the cilice isn't designed to wound. Opus Dei isn't renouncing the cilice
but is downplaying its significance, noting that fewer than 20% of its
members are numeraries.

When "The Da Vinci Code" was published three years ago, Opus Dei hoped to
be able to ignore it, convinced that speaking out would merely boost sales.
Then, when Sony Pictures purchased the movie rights, Mr. Mora and his
colleagues started to shift gears, hoping to soften the film's portrayal.

In early 2004, Thomas G. Bohlin, Opus Dei's top official in the U.S., wrote
a letter to Sony asking that the group's name not be used and asking for a
meeting with Amy Pascal, chairman of Sony's Motion Picture Group. Ms.
Pascal declined. Opus Dei then released an open letter to the
"shareholders, directors and employees of Sony" that encouraged the company
to run a disclaimer at the start of the film, stating that the movie was
based on a work of fiction. Sony's reply: no disclaimer.

Sony Pictures spokesman Jim Kennedy says the company is confident that
audiences will understand the movie is "a fictional thriller, not a
religious tract or historical documentary." Sony, he says, has been
sensitive to Opus Dei's concerns. He cites a Web site set up by Sony to air
debate.

Opus Dei spurned the Sony-controlled site as a marketing gimmick. Mr. Mora
says several PR companies approached Opus Dei offering their services but
the group declined. Opus Dei, he says, "prefers its pasta homemade."

It began thinking up ways to reach the movie's future audience with its own
message. Having taught several courses on crisis management, Mr. Mora was
familiar with the basic principles. He realized that Opus Dei shouldn't
stay silent, a mistake that many companies make when faced with bad news --
and one that backfired on the Catholic Church during the U.S. scandal over
sexual abuse of children by priests.

But textbook cases of damage control had only limited value for a religious
organization, says Mr. Mora. Opus Dei didn't have a product it could pull
from shelves and repackage. Opus Dei, which is made up largely of laypeople
but also includes some priests, offers a strict brand of Catholicism. It
calls on members to extend the spirit of Sunday worship into their everyday
lives through frequent prayer and good works. It wasn't about to change
that, but decided it could alter the packaging.

In April 2004, Opus Dei officials and members began granting interviews
that have appeared in books, in a History Channel documentary, and a cover
story in Time magazine. Opus Dei also publicized the existence of a "real
Silas," Silas Agbim, a Nigerian stockbroker and Opus Dei member who lives
in Brooklyn.

"If you take all of our defects -- wrinkles and all -- it's still not as
bad as the hateful depiction we're given in this film," says Mr. Mora.
"Nothing is as bad as Silas."

So, while some Catholic groups are boycotting the film and threatening
legal action, Opus Dei is calmly promoting its work and presenting itself
as a victim of Hollywood. Instead of generating buzz, it wants to be seen
as banal.

"People who come here looking for something surprising or shocking are
going to be very disappointed," said Jean Granier, a schoolteacher, father
of 10, and Opus Dei member who this week took part in an open house at the
group's center in Marseille, France. "What we do is very, very ordinary."
His oldest daughter, Aude, also a member, handed out pamphlets explaining
that, contrary to "The Da Vinci Code," Opus Dei "has no monks, no murders,
no masochism and no misogyny."

Outside PR professionals say the outreach strategy carries risks. "I think
their lemonade is going to turn sour in the end," said Simon Holberton, a
partner of Brunswick Group LLP, a London public-relations firm. "They are
going to get lots of applications from nutters -- survivalists and others
who like inflicting pain on themselves."

As for the cilice, a dozen members at the Marseille gathering all said they
had never tried it and never would.

Write to Stacy Meichtry at stacy.meichtry@wsj.com and Andrew Higgins at
andrew.higgins@wsj.com

Critics Around the Globe
Take Cracks at 'Da Vinci Code'
May 18, 2006 10:13 p.m.

Ron Howard's highly anticipated film adaptation of Dan Brown's best-selling
novel "The Da Vinci Code" garnered mixed marks from critics around the
world. Here are a selection of reviews from the U.S., France, Hungary and
elsewhere. (Some items are translated.) The film opens in the U.S. Friday.

* * *
GRACELESS ADAPTATION: "Whatever one may think of Dan Brown's book as a
piece of literature, it managed to marry great gobs of information with
narrative drive. Thus it comes as an unpleasant surprise that the movie is
less cinematic than the book, despite a profusion of foolish flashbacks
that evoke repressed memories, fearful dreams or portentous events in the
ancient world. (The Emperor Constantine's Council of Nicea looks like
outtakes from D.W. Griffith's 'Intolerance'.) The movie illustrates the
book, sometimes creepily; you're not likely to forget Paul Bettany's
murderous Silas, the slashback of Saint-Sulpice. Even as a visual aid,
though, 'The Da Vinci Code' is a deep-dyed disappointment. Paris by night
never looked murkier." -- The Wall Street Journal, U.S.

* * *
WHERE'S THE MAGIC? "Infused, no doubt, with the profundity of their
subject, Ron Howard and his screenwriter, Akiva Goldsman, laboriously
applied themselves toward digging into the thesis and antithesis [of the
story], going back through the course of history with numerous flashbacks
of the worst, B-movie type on Constantinan Rome or the Knights of Templar.
Consequently, what they forgot was the show, the magic of conspiracies, the
charm of melodramatic killers and traitors." -- Le Figaro, France

* * *
NO CHEMISTRY: " 'The Da Vinci Code' is one of the few screen versions of a
book that may take longer to watch than to read. … [the movie] is, above
all, a murder mystery. And as such, once it gets going, Mr. Howard's movie
has its pleasures. He and Mr. Goldsman have deftly rearranged some elements
of the plot … that keep the action moving along … In spite of some talk …
about the divine feminine, chalices and blades and the spiritual power of
sexual connection, not even a glimmer of eroticism flickers between the two
stars. Perhaps it's just as well. When a cryptographer and a symbologist
get together, it usually ends in tears." -- The New York Times, U.S.

* * *

BURSTS OF LAUGHTER: At the Cannes Film Festival premier Wednesday night,
"The Da Vinci Code" received "an icy reception" from the press. "The 2,000
journalists [present at the critics' showing] didn't hesitate to whistle at
Ron Howard's film, and -- the supreme insult -- they laughed during what
were supposed to be the most poignant scenes." -- Le Monde, France

* * *
WEARY DUTY: "Those who have read and enjoyed [the book] will find that a
few liberties have been taken with the story, and might take issue with
some of them. And those with concerns about the film's capacity to offend
religious sensibilities will note added elements that attempt to soften the
controversy and have each-way bets about faith. But it's hard to imagine
that anyone is going to feel much more than weariness as they emerge from
the cinema. It's a blockbuster made with a sense of what feels like weary
duty." -- The Sydney Morning Herald, Australia

* * *
YOU'LL LOUVRE IT! "Ron Howard's splendid 'The Da Vinci Code' is the Holy
Grail of summer blockbusters: a crackling, fast-moving thriller that's
every bit as brainy and irresistible as Dan Brown's controversial
bestseller … Howard keeps the narrative taut, and Akiva Goldsman's
screenplay is a model adaptation that hews closely to the essentials of
Brown's already cinematic novel without being slavish. And this lavish
production almost entirely avoids the schmaltz that Howard and Goldsman
ladled over their previous collaborations, 'A Beautiful Mind' and
'Cinderella Man.' At the movie's heart is Hanks, who is sympathetic, funny
and immensely watchable as the rumpled Langdon. He's well matched by
Tautou, who in a difficult role shows the most screen presence since her
breakthrough performance in 'Amelie.' " Rating: Four stars. -- The New York
Post, U.S.

* * *
DA VINCI SNOOZE: The most common reaction on the way out of the Cannes
press screening was, "How boring!" -- El Universal, Mexico

* * *
CHEESY FLASHBACKS: "The surprise, and disappointment, of [the movie] is how
slipshod and hokey the religious detective story now seems. … It's a
challenge, to be sure, to cram Brown's litany of signs and symbols, his
intricate meditations, into a two-and-a-half-hour film, but Howard, working
from Akiva Goldsman's script, fails to build intellectual excitement into
the quest. He uses cheesy digitized flashbacks, rarely trusting the
dialogue to evoke history, and he seems faintly rushed and embarrassed each
time the movie grows talky, as if he were worried that the breathless
theology wouldn't hold us." Rating: C+ -- Entertainment Weekly, U.S.

* * *
A BIG CROSS TO BEAR: "[W]hat drives this film is not the sense of
excitement that clearly motivated Brown when he realized he'd come up with
a world-class premise, but a sense of responsibility. A need to guard the
franchise at all costs has seeped into the very bones of this project, into
everything from script to casting, and robbed it of the excitement a
willingness to consider creative risks might have given it." -- The Los
Angeles Times, U.S.

* * *
TOO MUCH GUILT: " 'Da Vinci' never rises to the level of a guilty pleasure.
Too much guilt. Not enough pleasure." -- The Hollywood Reporter, U.S.

* * *
A FLYING MERINGUE PIE: " 'The Da Vinci Code,' a blend of pseudo-facty
information and mischievous, provocative invention, is a flying meringue
pie headed straight for the church's kisser." -- Salon.com, U.S.

* * *
A PLEASANT SURPRISE: "Considering the immense challenges involved in
adapting such a talky tome, it even struck me as something of a pleasant
surprise. … the film has an exciting visual texture that gives body to
Brown's bestseller-ese prose … Whatever it is, it's a complex movie about
ideas. That makes it unique in a Big-Budget Hollywood Cinema that is has
been consistently dumbing itself down since the mid-'80s. And if [it] fails
or disappoints at the box office, Hollywood is not likely to be this
intellectually ambitious again anytime soon. So I, for one, wish it well."
-- The Seattle Post-Intelligencer, U.S.

* * *
'SPAMALOT' WITHOUT THE JOKES: Ron Howard "doesn't believe in wasting time
on silly stuff like establishing believable characters. [Tom] Hanks and
[Audrey] Tautou play cardboard cutout figures who scamper across Europe on
a tourist schedule, on the trail of this Holy Grail of secrets … Chased for
about for four days straight, they do not need to eat or sleep or use
sentences ordinary human beings would recognize. … It didn't have the punch
of something like The Boys From Brazil, nor the seriousness of The Last
Temptation. It was like Spamalot without the jokes." -- The Guardian, U.K.

* * *
SUPERB PERFORMANCES: "There were, admittedly, some superb acting
performances from the star-studded cast -- however I left the screening
feeling rather disappointed and much preferring the novel … Despite the
rather far-fetched plot and slightly drawn-out ending, there are plenty of
edge-of-your-seat moments that will keep you transfixed." -- Sun Online,
U.K.

* * *
STORM IN A TEACUP: "Tom Hanks' performance is draining in his role as a
hopeless looking, troubled professor with a wrinkled forehead. The choice
of the Hungarian dubbing for Audrey Tautou is an unlucky choice, and she
looks serious at every opportunity. Jean Reno and Ian McKellen are lucky in
that their roles as villains actually give them a chance for real acting
and showing emotions. … 'The Da Vinci Code' caused a lot of controversy
before the premier, but this weak little movie is just a storm in a
teacup." -- Népszava, Hungary

* * *
THE REAL SHOW: The movie is actually more interesting when Robert (Hanks)
and Sophie (Tautou) aren't in it … And then there's Ian McKellen, who could
have walked on a sound stage and read the entire Bible and made it worthy
of a $10 movie ticket. … McKellen flat-out steals every moment he
inhabits." -- The Associated Press, U.S.

* * *
NOT MUCH OF A 'TEMPTATION': "The thriller 'The Da Vinci Code' is just an
average adventure film. Actually, it's not even anything new on the idea
side -- it doesn't hold a candle to Kazantzakis's "The Last Temptation of
Christ." But carefully planned advertising combined with accidental
publicity in the form of protests by various religious groups have turned
Dan Brown's opus into a global bestseller." -- SME Online, Slovak Republic

Filme de caça ao tesouro dos mais normaiszinhos...e como todo mundo já sabe a história, o vilão é o Magneto.
A Sophie é gostosa, o Tom Renques não cata e por aí vai
Coisas levantadas durante a sessão: Crítica ao OPUS DEI, o cara não curte a parada.
E outra coisa: Vc daria um pega na gostosa que é tataraneta do Jesus? E daria pois entre ser pecado e ter um tataravô com a pica grossa pra caralho, pode ser que aconteça esse...

Crítica ao OPUS DEI, o cara não curte a parada.

O problema é que a OPUS é o vilão perfeito: práticas não convencionais com muito pouca informação. Mas os caras estão empenhados em um esforço inédito de relações públicas, pra mostrar que não é bem assim, muito pelo contrário...

Vi o filme, e não achei nada demais... A Amelie Poulin está bem, o mano amigo do John Nash (o matemático loucão) também, "y ya está", nada demais.

O problema é que a OPUS é o vilão perfeito: práticas não convencionais com muito pouca informação. Mas os caras estão empenhados em um esforço inédito de relações públicas, pra mostrar que não é bem assim, muito pelo contrário...

Muito pelo contrário?? Não sei não, pergunta pros manos Poli, pro Wagnão...

ei. ei...é uma expressão, deveria estar entre aspas. É como se a OPUS DEI estivesse falando "não é bem assim, muito pelo contrário". É um "recurso linguístico" (indigente, mas é), não uma opinião minha. Eu não conheço a OPUS, só de encheção de saco dos caras da Poli, mas ao que me parece, pelo que andei lendo, aqueles não são membros da OPUS. E, de mais a mais, se alguém quer andar com cilício no braço por duas horas por dia, problema dele

Ok, ok

se alguém quer andar com cilício no braço por duas horas por dia

Tem gosto pra tudo tem gente que tatua partes sensíveis e tudo...

Os caras que enchem o saco não são os da Opus Dei. Já fui uma vez, no primeiro ano, com um cara do grupo do carrinho de PCC, no lugar do culto desse pessoal que 'enche o saco'. Culto amalucado demais pro meu gosto. Além do culto, eles ficam estudando a Bíblia... um pé no saco. Não voltei mais.

Já os caras da Opus Dei não fazem propaganda. També já fui num 'Centro de Estudos' deles com outro colega do grupo de carrinho. O lugar é sossegadíssimo. Parece um colégio de freiras, só que sem alunos e sem freiras. Por lá uns caras estudando numa biblioteca, outros organizando ações beneficientes. O culto é numa capela cristã, mas tem só um cara falando 50 minutos. Culto chato, mas o lugar em si é bom pra estudar. Um silêncio só. O péssimo do lugar é que só tem homem. Pior que a Poli.

Uma vez fui com um cara que chamava Ricardo Dam, fazia colegial no Etapa e fez producao com Wagnão, Ozeki e Rafaers em um centro desses...Fui até a uma visita ao ITA com os caras, mas aí acho que os caras se ligaram que eu não tava no perfil e e não me convidaram mais...pois eu queria muito estar lá ;,,,-(
Mu, Mu, Muuuuuuuuuuu, Mu aahahahahaahahha Mumu ahahahahahahaha
AF

O péssimo do lugar é que só tem homem.

É feito para ser assim. Um conhecido que participa me disse que existem uns de mulheres também... Aliás, me lembro de um prof. de cálculo da Poli (Eloy??? acho) que dava aulas extras na sede deles para atrair gente... Deplorável...

prof. de cálculo da Poli (Eloy??? acho) que dava aulas extras na sede deles para atrair gente... Deplorável...

Deplorável pq?