Film Review – In the Hand of Dante (2025)

      In the Hand of Dante, 2025.

      Directed by Julian Schnabel.

      Featuring Oscar Isaac, Gal Gadot, Gerard Butler, John Malkovich, Louis Cancelmi, Sabrina Impacciatore, Benjamin Clementine, Martin Scorsese, Al Pacino, Franco Nero, and Jason Momoa.

      SYNOPSIS:

      A handwritten manuscript of Dante Alighieri's "The Divine Comedy" travels from a priest to a mob boss in New York City, where it comes into the hands of Nick Tosches, who is asked to authenticate it.

      Extremely ambitious with an absurd storyline that oscillates between slick, gritty fun and philosophically dull, the main issue with co-writer/director Julian Schnabel’s overly lengthy In the Hand of Dante is that it’s more captivating as a silly early 2000s crime thriller about mobsters hiring novelist Nick Tosches (who also authored the book the film is adapted from, placing himself as a fictional character portrayed by Oscar Isaac) and a Dante specialist to procure the newly discovered original manuscript of his 14th-century masterpiece The Divine Comedy from Italian priests than it is as the alternate narrative focused on the creation of that story, featuring actors as secondary characters to explore themes of reincarnation.

      Thus, the film primarily opens with Oscar Isaac caught in a web of crime with the foul-mouthed, trigger-happy Louie (potentially Gerard Butler's best performance, despite a significant decline in quality in the latter half), John Malkovich as a mobster fixated on dollar signs if they can secure, authenticate, and sell the original manuscript on the black market, alongside a scene-stealing Al Pacino portraying a character from Nick's childhood after a violently absurd incident that might challenge viewers’ belief, leading to a chaotic resolution involving Oscar Isaac and the poorly executed performances of Gal Gadot and Jason Momoa in pivotal roles—Gadot as a threatened lover due to her connection to Nick and Momoa as a money-hungry killer linked to literary historian Dr. Susanna Pulice (Sabrina Impacciatore).

      Martin Scorsese also features in the 14th-century segment (despite frequent assertions about what constitutes real cinema versus cinematic theme park rides, he has now appeared in three lackluster films this year), imparting wisdom to Dante (also Oscar Isaac) while donning a humorously exaggerated beard. Much of this unfolds as a mental exploration, intertwined with Pope Boniface VIII (also played by Gerard Butler) marking Dante with the Mark of Cain after a disagreement, along with Dante's creative struggles with his current lover Gemma Donati (also Gal Gadot) compared to his first love Beatrice, starkly contrasted against the more relatable modern crime narrative. To put it bluntly, the film becomes tedious whenever it shifts to these flashbacks, lacking rhythm, momentum, or purpose.

      It’s evident that some of this is intentional and integrated within the film's structure, with flashbacks being depicted in color to signify more liberating and artistically fulfilling times, juxtaposed with the black-and-white 2000s sequences that highlight greed and the financial motivations surrounding a manuscript whose actual value remains uncertain. Additionally, the striking cinematography by Roman Vasyanov adds to the visual appeal.

      Another pressing thought is that, despite the film’s careful visual presentation and the captivating nature of about half the performances (although there's little need to discuss Gal Gadot and Jason Momoa, neither of whom convincingly deliver their accents without eliciting laughter), the narrative doesn't lead anywhere compelling, particularly after the mobsters leave the story. They are technically replaced by a hitman, but a significant chunk of time is spent following Nick as he travels worldwide for various identification processes, sometimes utilizing technology that confuses even him. The novel appears to focus more on Nick’s internal reflections regarding the state of the art world and critiques of classic works or restrictive prose, elements that are hinted at but not sufficiently explored here, leaving one to ponder what else might have been lost in the adaptation.

      The filmmakers seem to believe the romantic subplot will maintain interest in the second half, but it lacks emotional resonance and feels aimless within the 14th-century context. Eventually, one yearns for a more streamlined movie centered on mobsters stealing rare historical manuscripts for profit; this would be far more entertaining than the sluggish and artfully tedious In the Hand of Dante. The filmmakers seem unaware that the film should embody a comedic crime caper vibe, managing that tone until it takes itself too seriously, with flashbacks that fail to engage and instead evoke boredom rather than providing insight or significant context.

      Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★

      Robert Kojder