Secret Hidden Symbolism in the DaVinci Code Movie Based on Dan Browns Novel

In addition to the obvious and explained codes and symbolism involved in the movie The DaVinci Code, there are other symbols and clues inserted into the movie by its director Ron Howard. Some of these are simple and easy to catch at first when one watches the movie, however once ones eyes have been opened to their presence, and meaning, it opens up a deeper and richer experience for the audience. I hope the information contained herein will help the reader to better understand the many layers of the story as it is told in the film media.

The first hidden symbol we will explore is the cover of Robert Langdon's book, The Sacred Feminine. The cover is the painting by Botticellis, Birth of Venus. Venus, of course, was the goddess of love and beauty, expressing the sacred feminine itself. Furthermore, it is believed that Botticelli was himself a member of the Priory of Sion, the legendary secret society at the heart of this story. I believe too, that although not directly discussed in the movie that the existence of the sacred feminine, or goddess if you will, is also deeply seated in the heart of this story, and the Birth of Venus is a reminder of that.

The next hidden symbol we will be looking at is, oddly enough, the air freshener hanging from the rearview mirror of inspector Collets car. The air freshener is made in the shape of Gabriel. Gabriel is known to blow his trumpet in the call to duty. In this story Collette is a powerful man in the French police and is called to duty, first in the capture of our main characters, Robert and Sophie, but later on to do what is right and capture the real puppet master Teabing.

Now, let's take a look at our next devious symbol, the poster outside of the elevator in the Louver. This is a poster of Caravaggio's The Boy in the Well. This is, as we later find out, in reference to Langdon's anxiety about getting into the elevator. Further on in the story we find out that Langdon himself was trapped in a well as a child. This explains his obvious aversion to enclosed spaces.