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Every aspect of The Da Vinci Codes seems to have attained some aspect of notoriety. The starting point was the book itself, which opened up a Pandora's box of ideas that many found interesting, outrageous, fake, conspiratorial or even downright blasphemous, depending on their own worldview. The reality was that the story itself was pure fiction but was entwined with older and well-documented ideas that, like most theories, were neither new nor proven. The bulk of these ideas had been re-packaged for the modern eye only a decade or so earlier in the best seller "Holy Blood and the Holy Grail" a work that the authors themselves are happy to admit are just subjective theory. But such is the power of taking long lost academic arguments and presenting them as the "fat free, diet light" version for the new age.

The film that followed also caused much of a stir for pretty much a different reason. Although fairly true to Browns book and therefore capable of continuing the furore over its core ideas, the backlash this time was more to do with the fact that many people believed that Ron Howard's film didn't live up to the hype generated by the Frankenstein's Monster that was now at large. To be fair the craze over the book and film was so immense polarised and completely irrational and out of control that no film ever could have met the demands put upon it.

So with Dan Brown standing at two for two, as they say across the water, its time to move on to the sound track of the film. What could a mere soundtrack contribute to this hysteria? Apparently when the film went before the censorship board to get its initial rating for the cinema it received the 13 rating that the producers were looking for. This was before the sound track had been edited in. When the film was represented to the board complete with sound track it was decided that the music added so much more atmosphere and latent foreboding to the proceedings that the rating would be raised and the only way to retain a more family friendly rating would be to tone down the music. That is what happened and this is possible the first time that a reappraisal for the rating for a film has been based on the musical score, though I may be wrong.

As such with so much already expected of anything related to the Da Vinci Code, it was going to need a major talent to be called for to create the score for such a film, of such a book and nobody would have been surprised when the task at hand fell to Hans Zimmer. Having made a name

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