‘In the Hand of Dante’ Review A Not So Divine Folly
‘In the Hand of Dante’ Review: A Not So Divine Folly in Julian Schnabel’s Ambitious Epic
The intersection of high art, literary history, and modern-day cynicism is a volatile space, one that director Julian Schnabel has spent his career navigating. In his latest cinematic endeavor, ‘In the Hand of Dante’, Schnabel attempts to bridge the gap between the 14th-century origins of The Divine Comedy and a gritty, noir-inflected present. While the film arrives with the pedigree of a master filmmaker and a cast list that reads like a Hollywood honors roll, the final product is a sprawling, chaotic, and often frustrating exercise in creative excess. It is a film that seeks the heavens but frequently finds itself lost in a purgatory of its own making.
Adapted from Nick Tosches’ 2002 novel of the same name, ‘In the Hand of Dante’ is not a traditional biopic nor a straightforward thriller. Instead, it is a dual-narrative exploration of the soul, the agonizing process of creation, and the commodification of genius. However, as the title of this review suggests, the result is a "not so divine folly"—an ambitious project that collapses under the weight of its own intellectual pretension and disjointed structure. In this deep-dive review, we explore why this star-studded epic fails to harmonize its historical grandeur with its contemporary grit.
The Dual Narrative: A Tale of Two Worlds and One Soul
At the heart of ‘In the Hand of Dante’ are two parallel stories separated by seven centuries, yet linked by the same manuscript and, arguably, the same spiritual malaise. In the first timeline, we find Dante Alighieri (played by Oscar Isaac) in the early 14th century. This is not the venerated icon of literature we see in textbooks, but a man in exile, disillusioned with the church and the politics of Florence, struggling to complete his magnum opus. Schnabel paints this era with a tactile, visceral brush, focusing on the physical toll of writing and the visceral reality of medieval life.
The second timeline follows Nick Tosches (also played by Oscar Isaac), a cynical, world-weary scholar and author in the present day. Tosches is summoned to Venice by a group of black-market manuscript dealers to authenticate what appears to be the original, handwritten draft of The Divine Comedy. As Tosches becomes embroiled in a dangerous underworld of crime and greed, his journey begins to mirror the metaphorical descent into Hell described in Dante’s poem. The conceit is brilliant on paper: the creator and the critic, the saint and the sinner, both grappling with the same transcendent text.
However, the execution of these parallel tracks often feels jarring. Schnabel’s editing style—erratic and impressionistic—frequently cuts between the timelines with little regard for narrative flow. While this might be intended to show the timelessness of Dante’s themes, it often leaves the audience feeling unmoored. One moment we are in a candlelit chamber contemplating the nature of Beatrice’s love, and the next we are in a rain-slicked modern alleyway dealing with mobsters. The tonal whiplash is constant, preventing the viewer from fully immersing themselves in either world.
Cast and Performances: A Masterclass Amidst Chaos
If there is one undeniable reason to watch ‘In the Hand of Dante’, it is the sheer caliber of the acting. Oscar Isaac, one of the most versatile actors of his generation, takes on the Herculean task of playing both Dante and Tosches. It is a bravura performance, or rather, two distinct performances that occasionally bleed into one another. As Dante, Isaac captures the internal fire of a man possessed by a vision. As Tosches, he leans into a weary, nicotine-stained charisma that evokes the hard-boiled detectives of classic noir.
The supporting cast is equally formidable, though many are underutilized in the film’s fragmented structure:
- Gal Gadot: Brings a sense of ethereal mystery and grounding to the modern storyline, though her character often feels more like a symbol than a fully realized human being.
- Jason Momoa: Steps away from his action-hero persona to provide a surprising amount of gravitas, though the script doesn't always know what to do with his presence.
- Gerard Butler: Delivers a gritty, intense performance that fits the film’s more violent undertones.
- Al Pacino and John Malkovich: These veterans provide the film’s intellectual backbone. Pacino, in particular, seems to relish the chewy dialogue, delivering lines about art and eternity with the rasping authority only he can command.
Despite these strong individual efforts, the film feels like a collection of great scenes rather than a cohesive story. The actors often feel like they are performing in different movies—Pacino in a philosophical drama, Butler in a crime thriller, and Isaac in a period epic. The lack of a unified directorial vision for the performances results in a film that feels like a high-end acting workshop rather than a feature-length narrative.
The Schnabel Aesthetic: Beauty in the Blur
Julian Schnabel is first and foremost a painter, and his films have always reflected his background in the visual arts. In ‘In the Hand of Dante’, he employs a handheld, often blurry cinematography style that favors emotion over clarity. Working with legendary cinematographers, Schnabel captures the golden light of the Italian countryside and the stark, neon-lit shadows of modern Venice with equal beauty.
The film is visually arresting. There are sequences in the 14th-century segments that feel like a Renaissance painting come to life—saturated colors, heavy textures, and a profound sense of atmosphere. Schnabel uses the camera to explore the texture of paper, the flow of ink, and the weathered skin of his protagonists. For fans of pure cinema, these aesthetic choices are a feast for the eyes.
However, the "painterly" approach often comes at the expense of the story. Schnabel frequently lingers on abstract shots—a waving blade of grass, a flickering candle, a distorted reflection—long after the narrative point has been made. For a film that clocks in at a significant runtime, these indulgences make the pacing feel sluggish. The "folly" of the film lies in Schnabel’s refusal to kill his darlings; every shot, no matter how tangential to the plot, is treated as a masterpiece, leading to a bloated experience that tests the patience of even the most devoted cinephile.
Comparison and Analysis: Fact vs. Fiction
To better understand the scope of ‘In the Hand of Dante’, it is helpful to look at the technical and thematic breakdown of the production:
| Fitur/Aspek | Deskripsi |
|---|---|
| Director | Julian Schnabel (The Diving Bell and the Butterfly, At Eternity's Gate). |
| Source Material | The novel by Nick Tosches, blending historical fiction and modern noir. |
| Lead Actor | Oscar Isaac (playing both Dante Alighieri and Nick Tosches). |
| Themes | Mortality, the burden of genius, the sanctity of art vs. commercial greed. |
| Visual Style | Impressionistic, handheld camera, heavy use of natural light and texture. |
| Music/Score | A mix of classical Italian influences and contemporary dissonant tones. |
| Executive Producer | Martin Scorsese (bringing a sense of prestige and historical depth). |
The Script’s Struggle: Lost in Translation
The primary issue with ‘In the Hand of Dante’ is the script. Nick Tosches’ novel is notoriously difficult to adapt, filled with dense theological debates, linguistic puns, and a deeply cynical worldview. Schnabel, who co-wrote the screenplay, tries to capture all of this while also maintaining a crime-thriller plot. The result is a script that is heavy on exposition but light on character development.
In the modern timeline, the dialogue often leans into hard-boiled clichés that feel out of place next to the elevated language of the Dante segments. Characters speak in riddles or profound pronouncements that can feel unearned. There is a sense that the film is trying very hard to be "Important" with a capital I, but in doing so, it loses the human heart that made The Divine Comedy a timeless work. Dante’s journey was ultimately about love and the search for God; Tosches’ journey is about the search for a manuscript and a sense of self. While the parallels are intended to be profound, they often come across as intellectual navel-gazing.
Moreover, the film struggles with its female characters. Gal Gadot and Sabrina Impacciatore are talented actresses, but they are given little to do other than act as muses or obstacles for the male leads. In a story about the creation of one of literature’s most famous female figures (Beatrice), the lack of agency given to the women in the film is a missed opportunity.
Production Background: A Long Road to the Screen
The journey of ‘In the Hand of Dante’ to the big screen has been almost as long and arduous as Dante’s trek through the Inferno. Johnny Depp originally purchased the film rights to the novel nearly two decades ago, with the intent of starring as Tosches. After years in development hell, the project finally moved forward under Schnabel’s direction. This long gestation period is evident in the film’s "everything but the kitchen sink" approach. It feels like a project that has been tinkered with for so long that it has lost its original spark, replaced by a dense layer of stylistic choices.
Filming across Italy—from the canals of Venice to the rugged landscapes of Sicily—the production value is top-notch. The involvement of Martin Scorsese as an Executive Producer also lent the film a degree of industry clout that helped secure its massive cast. Yet, even Scorsese’s influence couldn't streamline Schnabel’s idiosyncratic tendencies. The film premiered at major festivals to polarized reviews, with critics praising the ambition but lamenting the lack of focus.
The Verdict: A Folly Worth Seeing?
Is ‘In the Hand of Dante’ a failure? In many ways, yes. It fails to tell a clear story, it fails to balance its tones, and it fails to justify its bloated runtime. However, it is what one might call a "magnificent failure." In an era of sterilized, committee-driven blockbuster filmmaking, there is something refreshing about a director taking a massive budget and a group of A-list stars to make something so personal, weird, and uncommercial.
For students of literature and fans of Julian Schnabel’s previous work, there is much to admire here. The philosophical inquiries into the nature of hell and the price of artistic immortality are genuinely thought-provoking. Oscar Isaac’s performance is a career-high, showcasing his ability to carry a film even when the script is crumbling around him. But for the average viewer looking for a compelling thriller or a traditional historical epic, ‘In the Hand of Dante’ will likely be a frustrating experience.
Frequently Asked Questions (FAQ)
1. Is ‘In the Hand of Dante’ a true story?
The film is a work of fiction based on the novel by Nick Tosches. While it features the real historical figure Dante Alighieri and his famous work The Divine Comedy, the modern-day plot involving the theft of a manuscript is entirely fictional.
2. Why is it being called a "folly"?
In artistic terms, a "folly" is a project that is incredibly ambitious, expensive, and personal, but which ultimately fails to achieve its goals or reach a wide audience. Critics use the term for this film because of its chaotic structure and self-indulgent directing style.
3. Do I need to read The Divine Comedy to understand the movie?
While you don't need to be a scholar, having a basic understanding of Dante’s Inferno, Purgatorio, and Paradiso will help you appreciate the film’s metaphors and the struggle of the characters. The film assumes a certain level of familiarity with the text.
4. Where was the movie filmed?
The production was filmed on location throughout Italy, including Venice, Tuscany, and Sicily, providing the film with its stunning and authentic visual backdrop.
Conclusion
In the final analysis, ‘In the Hand of Dante’ is a testament to the dangers of unchecked artistic ambition. Julian Schnabel has crafted a film that is visually breathtaking and intellectually dense, yet emotionally hollow and narratively incoherent. It is a "not so divine folly" that asks a great deal of its audience but offers little in the way of traditional satisfaction.
However, in its messiness, it captures something true about the nature of creation. Writing, like the journey through the circles of Hell, is a painful, isolating, and often nonsensical process. By mirroring that chaos in the film’s very structure, Schnabel has created a meta-commentary on the agony of being an artist. While it may not be the masterpiece it aspires to be, ‘In the Hand of Dante’ remains a fascinating, if flawed, exploration of the enduring power of the written word. It is a film that will be debated by film students and literary buffs for years to come, even if it leaves the general public cold.
For those brave enough to enter this cinematic Inferno, go in with an open mind and a patience for abstraction. You may not find paradise, but the journey through Schnabel’s purgatory is certainly unlike anything else in modern cinema.
‘In the Hand of Dante’ Review: A Not So Divine Folly
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