In the Hand of Dante review A frustratingly wobbly blend of biography, fiction and mythology
In the Hand of Dante Review: A Frustratingly Wobbly Blend of Biography, Fiction, and Mythology
The intersection of high literature and gritty crime drama is a rare territory in modern cinema, often reserved for auteurs who are unafraid of polarizing their audiences. In Julian Schnabel’s latest directorial effort, In the Hand of Dante, we are presented with an ambitious, sprawling, and ultimately exhausting adaptation of Nick Tosches’ 2002 cult novel. Billed as a metaphysical journey that bridges the gap between the 14th century and the modern day, the film attempts to weave the life of Dante Alighieri with a contemporary noir plot involving the theft of the original Divine Comedy manuscript. However, while the film is visually arresting and intellectually dense, it often collapses under the weight of its own pretensions, resulting in a frustratingly wobbly blend of biography, fiction, and mythology.
The Dual Narrative: Parallel Lives Across Seven Centuries
At its core, In the Hand of Dante operates on two distinct timelines. In the first, set in the early 14th century, we follow Dante Alighieri (played with intense, brooding energy by Oscar Isaac) as he struggles to complete his magnum opus, The Divine Comedy. This version of Dante is not the pristine poet of marble statues but a man haunted by political exile, unrequited love for Beatrice, and a desperate need to find a theological meaning in a world rife with corruption and suffering. Schnabel’s direction here is tactile and visceral; the mud of Italy, the flickering candlelight, and the scratch of quill on parchment feel incredibly immediate.
Parallel to this is the modern-day narrative, where Oscar Isaac takes on a second role as Nick Tosches, a cynical, weary scholar and writer who is summoned to New York by the mafia. They have come into possession of what appears to be the original, handwritten manuscript of the Commedia. Tosches is tasked with authenticating it, but soon finds himself embroiled in a violent underworld where the manuscript becomes a "MacGuffin" that everyone—from mobsters to wealthy collectors—is willing to kill for. The transition between these two worlds is intended to show the timelessness of human greed and the enduring power of art, but the editing often feels jarring, leaving the audience struggling to find a consistent emotional anchor.
A Stellar Cast Trapped in a Narrative Labyrinth
The film boasts an incredible ensemble cast, yet many of the performances feel underserved by the fragmented script. Oscar Isaac is the clear standout, managing to differentiate his two roles through posture, cadence, and a deep sense of internal turmoil. As Dante, he is a man possessed by a divine (or perhaps infernal) spark. As Tosches, he is a man who has lost his way, seeking redemption in the very pages he is supposed to authenticate. His ability to carry the film's philosophical monologues is impressive, though even his charisma cannot always bridge the gaps in the film's logic.
The supporting cast includes heavy hitters like Jason Momoa, Gal Gadot, and Gerard Butler, along with a significant appearance by Al Pacino as a blind scholar who serves as a mentor to Tosches. Gadot delivers a grounded performance as a woman caught between Tosches and the criminal elements, while Momoa brings a surprising amount of gravitas to a role that could have easily been a caricature. However, the film frequently introduces characters only to leave them behind, contributing to the "wobbly" sensation mentioned in our title. The narrative structure mirrors the circles of Hell, but without the clear progression that made Dante’s original work a masterpiece of structural design.
| Aspect of the Film | Critical Analysis |
|---|---|
| Directorial Vision | Julian Schnabel utilizes his background as a painter to create stunning, impressionistic visuals that prioritize mood over clarity. |
| Thematic Depth | Explores the nature of creativity, the weight of history, and the commodification of genius. |
| Pacing & Structure | Inconsistent; the frequent jumping between the 14th century and the 21st century disrupts the narrative flow. |
| Acting Performances | High-caliber performances, particularly from Isaac and Pacino, though some characters feel underdeveloped. |
| Cinematography | Breathtaking use of natural light and handheld cameras to create a "you are there" atmosphere. |
The Struggle of Adapting Nick Tosches' Prose
Nick Tosches’ original novel is famous for its dense, linguistic gymnastics and its nihilistic worldview. It is a book that revels in its own intellect, often stopping the plot to deliver long essays on theology, history, or the biology of death. For a filmmaker, this presents a monumental challenge. Julian Schnabel, known for films like The Diving Bell and the Butterfly and At Eternity’s Gate, is no stranger to internal narratives, but In the Hand of Dante requires a level of cohesion that his impressionistic style struggles to provide.
The film attempts to translate Tosches' "voice" through voiceovers and stylized dialogue, but what works on the page often feels pretentious on the screen. There are moments of genuine brilliance—specifically the scenes where Dante describes his vision of the afterlife—but these are frequently interrupted by the modern-day crime plot, which feels like it belongs in a completely different movie. The blend of biography (the life of Dante), fiction (the Tosches character), and mythology (the spiritual journey) never quite gels into a unified whole. Instead, it feels like three different films fighting for dominance over the same two-and-a-half-hour runtime.
The Visual Language: Painting with Light and Shadow
If there is one area where the film undeniably succeeds, it is in its visual presentation. Schnabel and his cinematographer utilize a variety of film stocks and lenses to differentiate the eras. The medieval sequences are bathed in golden hues and deep shadows, reminiscent of Caravaggio paintings. In contrast, the modern New York scenes are cold, clinical, and gritty, reflecting the moral decay of the characters inhabiting them. This visual storytelling does a lot of the heavy lifting that the script fails to do, conveying the "wobbliness" of time through aesthetics alone.
However, beautiful imagery can only sustain a film for so long. As In the Hand of Dante enters its final act, the metaphysical stakes are raised, but the emotional connection to the characters remains thin. We are asked to care about the soul of a poet from 700 years ago and a cynical thief today, but the film’s refusal to ground itself in a clear reality makes it difficult to feel the weight of their choices. The mythology of the "hand of Dante"—the idea that the act of writing is a physical, almost violent struggle—is a powerful concept, but it gets lost in the shuffle of mob hits and scholarly debates.
Why "In the Hand of Dante" Divides Critics
The reaction to In the Hand of Dante has been predictably divided. For some, it is a brave piece of experimental cinema that refuses to spoon-feed the audience. These viewers will appreciate the film’s refusal to follow traditional narrative beats and its commitment to exploring the darker corners of the human psyche. For others, it is a bloated, self-indulgent exercise that wastes a talented cast on a story that doesn't know what it wants to be.
The "wobbliness" is not necessarily a lack of skill, but perhaps an intentional choice by Schnabel to represent the chaos of the creative mind. Just as Dante’s journey through Hell, Purgatory, and Heaven was a dizzying experience, the film seeks to overwhelm the senses. Yet, in cinema, there is a fine line between "overwhelming" and "alienating." By trying to be a biography, a thriller, and a philosophical treatise all at once, the film risks being none of them effectively.
A Deep Dive into the Modern-Day Noir
The modern-day segment of the film functions as a critique of the art world and the commercialization of history. Nick Tosches is portrayed as a man who understands the value of Dante's words but is disgusted by the way those words are used as currency. The presence of the mafia adds a layer of literal danger to this intellectual disgust. The violence in the film is sudden and brutal, serving as a reminder that the "Heaven" Dante wrote about is far removed from the "Hell" of modern existence.
The interaction between Tosches and the manuscript is filmed with a religious reverence. When he touches the pages, the camera lingers on the texture of the vellum, suggesting that art is the only thing that survives the ravages of time. This is the film's strongest thematic thread, but it is often obscured by subplots involving minor characters and unnecessary exposition. Had the film focused more tightly on the relationship between the two men (Dante and Tosches) across time, it might have achieved the masterpiece status it so clearly craves.
Conclusion: An Ambitious Failure or a Flawed Masterpiece?
In the Hand of Dante is a film that demands multiple viewings to fully unpack, yet its initial viewing experience is so taxing that many may not want to return. It is a "wobbly" film because it attempts to balance the unbalanceable: the sacred and the profane, the historical and the contemporary, the poetic and the violent. Julian Schnabel has created a work that is undeniably his own, filled with beauty and madness in equal measure.
Ultimately, the film serves as a reminder that some novels are "unfilmable" for a reason. The internal complexity of Nick Tosches' writing is difficult to capture without losing the narrative thread. However, for those who are tired of formulaic blockbuster cinema and crave something that will make them think, argue, and perhaps even groan in frustration, In the Hand of Dante is an essential, if highly flawed, experience. It is a bold, messy, and deeply felt exploration of what it means to be an artist in a world that often values the price of the paper more than the words written upon it.
Frequently Asked Questions (FAQ)
1. Is "In the Hand of Dante" based on a true story?
The film is a blend of history and fiction. Dante Alighieri was a real historical figure, and the details of his exile and writing of the Divine Comedy are based on historical records. However, the modern-day plot involving Nick Tosches and the stolen manuscript is entirely fictional, based on Tosches' 2002 novel.
2. Who plays Dante in the movie?
Oscar Isaac plays both Dante Alighieri in the 14th-century sequences and the writer Nick Tosches in the modern-day sequences. His dual performance is considered one of the highlights of the film.
3. Why is the film described as "wobbly"?
The term "wobbly" refers to the film's inconsistent tone and structure. It frequently jumps between different genres (historical biography, crime noir, and philosophical fantasy), which can make the narrative feel unstable or difficult to follow for some viewers.
4. Is Julian Schnabel's style similar to his previous films?
Yes, fans of Schnabel will recognize his signature use of handheld cameras, close-ups on textures, and a non-linear approach to storytelling, similar to his work in At Eternity's Gate and Basquiat.
In conclusion, In the Hand of Dante is a cinematic enigma. It is a film that reaches for the heavens but remains firmly rooted in the grime of human nature. While its blend of biography, fiction, and mythology may be frustratingly wobbly, its ambition is undeniable. Whether you view it as a pretentious mess or a daring work of art will likely depend on your patience for Schnabel’s unique directorial voice and your interest in the enduring legacy of Dante Alighieri.
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