Zobrist, in voice-over, makes a series of disagreeable proclamations: “Mankind is the cancer in its own body,” for instance, and “Humanity is the disease. In the movie, the severity of Langdon’s predicament is underlined by the scene that precedes it, which consists of closeup shots of a geneticist-cum-doomsday prophet named Bertrand Zobrist (Ben Foster) giving a TED Talk and then committing suicide. He wakes up in a Bourne-type situation, jerking upright in an empty hospital room with a head wound and no idea how he got from Cambridge, Massachusetts, to Florence, Italy. I had read “Inferno” when it first came out, but when I picked it up again before seeing the movie I found myself in the grip of amnesia, much like Langdon at the start of the book.

Pumpkins, is unable to transform Langdon into a lifelike figure onscreen. Howard has made three of the Langdon books into movies, and all of them star Tom Hanks, who glares at the reader skeptically from the cover of the reissued “Inferno.” It’s a testament to the insipidity of Brown’s character-writing practices that even Hanks, still preternaturally charming in such recent roles as Captain Sully and David S. “Inferno,” the book, is the fourth of Brown’s novels featuring Robert Langdon, a professor of “symbology” (an imaginary discipline) and a general charisma vacuum who solves vast historical conspiracies by declaiming his way through the art and history of Western Europe. “Inferno,” the movie, grossed just fifteen million dollars in its first three days, falling below Tyler Perry’s “Boo! A Madea Halloween,” which was in its second weekend, and earning its place as Howard’s fourth consecutive domestic flop. In September, Anchor Books released a movie-tie-in edition of Dan Brown’s 2013 best-seller “Inferno,” to accompany Ron Howard’s adaptation of the novel, which came out in theatres last weekend.

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