'Variety' got it completely wrong when they called this film "sorrowfully mediocre" and "sluggishly staged". For in all honesty The Name of the Rose is one of the greatest films of the '80s, and a film that grows in greatness every time you revisit it. Based on a major bestselling novel by Umberto Eco, the film is an excellent murder mystery further heightened by its authentic period trappings and a clutch of tremendous performances.
Brother William of Baskerville (Sean Connery) and his young apprentice Adso (Christian Slater) are monks who arrive in a 14th Century monastery having been summoned for a religious conference. Soon after their arrival, a series of bloodthirsty murders take place and the friars still alive begin to fear that either the Apocalypse is upon them, or a highly disturbed individual is out to bump them off. Brother William has a penchant for sleuthing, so he probes into the mysterious deaths and discovers that each victim had laid his eyes upon a Greek manuscript hidden deep within the interior of the monastery. He gradually realises that the killer must be targeting those who know of the book's existence, but just as he is about to solve the killings an inquisitor (F. Murray Abraham) arrives and tries to discredit Brother William's theories, preferring to blame the crimes on non-existent heretics and satanists.
The film is very realistic in every way - the cold, uncomfortable monastery; the graphic murders; grotesque and disfigured characters; a startlingly explicit sex scene; authentic-sounding dialogue; excellent indoor and outdoor locations; and well-researched costume designs. Furthermore, it is a superbly paced film, never in too great a hurry to unravel but never so slow that it becomes a plod. Connery is great as the hero, surpassed only by Abraham in a breathtaking role as Bernardo Gui the inquisitor, and Slater does well considering his tender age as the loyal apprentice. Both Roy Scheider and Michael Caine were short-listed for the Connery role, but I don't see how either actor could've done better with the character. Jean Jacques Annaud directs outstandingly, capturing every shadow, every expression and every plot piece with the eye that only a director obsessed with his material possibly can. The Name of the Rose makes the top #50 of the 1980s without question.
Brother William of Baskerville (Sean Connery) and his young apprentice Adso (Christian Slater) are monks who arrive in a 14th Century monastery having been summoned for a religious conference. Soon after their arrival, a series of bloodthirsty murders take place and the friars still alive begin to fear that either the Apocalypse is upon them, or a highly disturbed individual is out to bump them off. Brother William has a penchant for sleuthing, so he probes into the mysterious deaths and discovers that each victim had laid his eyes upon a Greek manuscript hidden deep within the interior of the monastery. He gradually realises that the killer must be targeting those who know of the book's existence, but just as he is about to solve the killings an inquisitor (F. Murray Abraham) arrives and tries to discredit Brother William's theories, preferring to blame the crimes on non-existent heretics and satanists.
The film is very realistic in every way - the cold, uncomfortable monastery; the graphic murders; grotesque and disfigured characters; a startlingly explicit sex scene; authentic-sounding dialogue; excellent indoor and outdoor locations; and well-researched costume designs. Furthermore, it is a superbly paced film, never in too great a hurry to unravel but never so slow that it becomes a plod. Connery is great as the hero, surpassed only by Abraham in a breathtaking role as Bernardo Gui the inquisitor, and Slater does well considering his tender age as the loyal apprentice. Both Roy Scheider and Michael Caine were short-listed for the Connery role, but I don't see how either actor could've done better with the character. Jean Jacques Annaud directs outstandingly, capturing every shadow, every expression and every plot piece with the eye that only a director obsessed with his material possibly can. The Name of the Rose makes the top #50 of the 1980s without question.