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Description

The Name of the Rose (original title, Der Name der Rose) is a German-French-Italian 1986 film, directed by Jean-Jacques
Annaud, based on the book of the same name by Umberto Eco. Sean Connery is the Franciscan friar William of Baskerville
and Christian Slater is his apprentice Adso of Melk, who are called upon to solve a deadly mystery in a Medieval
abbey.

Contents

[hide]



    * 1 Synopsis

    * 2 Cast

    * 3 Production

    * 4 Reception

    * 5 Awards

    * 6 Major changes from the book

    * 7 See also

    * 8 References

    * 9 External links



[edit] Synopsis



Franciscan monk William of Baskerville and his novice Adso of Melk (narrating as an old man) arrive at a Benedictine
abbey where a mysterious death has occurred ahead of an important Church conference. William, known for his deductive
and analytic mind, confronts the worried Abbot and gains permission to investigate the death – a young illuminator
appears to have committed suicide. Over the next few days, several other bizarre deaths occur, and the two discover that
not everything is what it seems in the abbey.



The two also make the acquaintance of Salvatore (played by Ron Perlman), a demented hunchback who spews forth gibberish
in various languages, and his handler and protector, Remigio da Varagine (Helmut Qualtinger) who, as events prove, also
has a shady past. William quickly deduces that Salvatore had once been a member of a heretical sect and infers that
Remigio likewise had been involved. He suspects that they may have been involved in the killings. Meanwhile, Adso
encounters a beautiful semi-feral peasant girl who has apparently sneaked into the abbey to trade sexual favors for
food; she seduces him, and he falls in love with her.

William of Baskerville and his apprentice Adso of Melk



Investigating and keen to head off accusations of demonic possession the protagonists discover and explore a
labyrinthine medieval library, constructed on multiple levels in the abbey's forbidden principal tower. It becomes clear
that the only remaining copy of Aristotle's Second Book of Poetics is somehow related to the deaths. William deduces
that all of those who died under mysterious circumstances had read the book.



His investigations are curtailed by the arrival of Bernardo Gui of the Inquisition, summoned for the conference and keen
to prosecute those he deems responsible for the deaths. The two men clashed in the past and the zealous inquisitor has
no time for theories outside his own. Salvatore and the girl are found fighting over a black cockerel while in the
presence of a black cat. Gui presents this as irrefutable proof that they are in league with Satan and tortures
Salvatore into confessing. Salvatore, Remigio, and the girl are dragged before a kangaroo court tribunal where Gui
intimidates the Abbot into concurring with his judgment of heresy. But William, also "invited" by Gui to serve
on the panel of judges, refuses to confirm the accusations of murder. Gui resorts to extracting a confession from
Remigio by the threat of torture, and clearly plans to take care of William for good, later.



When another monk succumbs like the others, William and Adso ascend the forbidden library, and come face to face with
the Venerable Jorge (Feodor Chaliapin, Jr.), the most ancient denizen of the abbey, with the book, which describes
comedy and how it may be used to teach. Believing laughter and jocularity to be instruments of the Devil, Jorge has
poisoned the pages to stop the spread of what he considers dangerous ideas: those reading it would ingest the poison as
they licked their fingers to aid in turning pages. Confronted, Jorge throws over a candle, starting a blaze that quickly
engulfs the library. William insists that Adso flee, as he manages to collect an inadequate armload of invaluable books
to save; the volume of Poetics, Jorge, and the rest of the library are lost.



Meanwhile, Salvatore and Remigio have been burned at the stake, and the girl is soon to follow, when the local peasants
take advantage of the chaos of the library fire to turn on Gui and free her. Gui attempts to flee but they throw his
wagon off a cliff, to his death. William and Adso later take their leave. A much older Adso reflects in his closing
narration that he never regretted his decision to continue on with William, and that the girl was the only Earthly love
of his life, yet he never learned her name.

[edit] Cast



(in credits order)



    * Sean Connery - William of Baskerville

    * Christian Slater - Adso of Melk

    * Helmut Qualtinger - Remigio da Varagine

    * Elya Baskin - Severinus

    * Michael Lonsdale - The Abbot

    * Volker Prechtel - Malachia

    * Feodor Chaliapin, Jr. - Jorge de Burgos

    * William Hickey - Ubertino da Casale

    * Michael Habeck - Berengar

    * Urs Althaus - Venantius

    * Valentina Vargas - The Girl

    * Ron Perlman - Salvatore

    * Leopoldo Trieste - Michele da Cesena

    * Franco Valobra - Jerome of Kaffa

    * Vernon Dobtcheff - Hugh of Newcastle

    * Donald O'Brien - Pietro d'Assisi (as Donal O'Brian)

    * Andrew Birkin - Cuthbert of Winchester

    * F. Murray Abraham - Bernardo Gui

    * Lucien Bodard - Cardinal Bertrand

    * Peter Berling - Jean d'Anneaux

    * Pete Lancaster - Bishop of Alborea

    * Dwight Weist - Voice of Adso as an old man (voice)



[edit] Production



Director Jean-Jacques Annaud once told Umberto Eco that he was convinced the book was written for only one person to
direct, that is to say himself. He felt personally intrigued by the project, among other things because of a life-long
fascination with medieval churches and a great familiarity with Latin and Greek.



Annaud spent four years preparing the film, traveling throughout the United States and Europe, searching for the perfect
multiethnic cast with interesting and distinctive faces. He resisted suggestions to cast Sean Connery for the part of
William because he felt that the character, who was already an amalgam of Sherlock Holmes and William of Occam, would
become too overwhelming with "007" added.[2] Later, after Annaud failed to find another actor he liked for the
part, he was won over by Connery's reading, but Eco was dismayed by the casting choice and Columbia Pictures pulled out,
as Connery's career was then in a slump.[2] Christian Slater was cast through a large-scale audition of teenage boys.[2]
For the wordless scene in which the Girl seduces Adso, Annaud did not explain to Slater what Valentina Vargas would be
doing, to elicit a more authentic performance from him.[2]



The exterior and some of the interiors of the monastery seen in the film were constructed as a replica on a hilltop
outside Rome, and ended up being the biggest exterior set built in Europe since Cleopatra. Many of the interiors were
shot at Eberbach Abbey, Germany. Most props, including period illuminated manuscripts, were produced specifically for
the film.[2]

[edit] Reception



The film did poorly at the box office in the United States, playing at only 176 theatres and grossing only $7.2 million
in return on a $17 million budget.[3][1] It received generally negative reviews upon its release, from American and
Italian critics. It was popular in many parts of Europe, however, with a worldwide gross of over $77 million.[1]

[edit] Awards



    * The film was awarded the César for best foreign film.

    * The film was awarded two BAFTAs. Sean Connery for best actor, and Hasso von Hugo won Best Make Up Artist.



[edit] Major changes from the book



    * The film has a simpler plot, with more action in it.



    * In the book, Adso of Melk is a Benedictine novice, whereas in the movie he is a Franciscan.



    * A lengthy dream sequence near the end (Terce of the sixth day) dreamt by Adso is non-existent in the film. It is
mostly based, William tells Adso, on the Coena Cypriani, which illustrates a comedic assembly of many biblical
characters. There are several versions, one of which is found bound together with Aristotle's Poetics, and its
popularity shows how comedy attracts the attention of the young. Adso was very familiar with this text; Jorge was
disgusted by it.



    * In the book, the Abbot explicitly assigns William as an investigator and orders everyone to help him if he
requests something. He also explicitly tells that entering the aedificium is forbidden in the evenings.



    * A major character (and suspect) from the book is omitted in the film adaptation: Benno of Uppsala, who even joins
William and Adso for a short period of their investigation. He runs into the library as the abbey burns, presumably
dying when the floor collapses.



    * The Abbot is the sixth victim in the book, whereas in the film he just stops appearing.



    * A lot of dialogue regarding religion and comedy, as well as much discussion by the main characters about the
current time period and the heretics is cut drastically down.



    * Jorge's motivation is reduced by cutting out the history of the Abbey librarians, who traditionally later become
the Abbots. This takes with it the history of Jorge being selected for that position over a man ten years his senior
(Alinardo of Grottaferrata, found in the book but not the film), and Jorge's subsequent arrangements of the current
Abbot, Librarian, and Assistant as puppets. The sermon that Jorge gives on the apocalypse and the ruin of the Abbey
because of its pursuit for knowledge is reduced to an exclamation during the panic following Malachi's death.



    * The most notable of changes is the ending: the film has Remigio and Salvatore being burnt at the stake by Bernardo
Gui, who is killed by peasants before being able to burn The Girl. In the book, Gui does not die, and he takes Remigio,
The Girl and Salvatore with him and his escorts. Remigio is taken to Avignon, the seat of the pope, for a final trial
before he is burnt. William tells Adso that Gui will burn The Girl on the way, and that Salvatore, who is supposedly
forgiven, may or may not be burnt as well.



    * The book's last line, "Stat rosa pristina nomine, nomina nuda tenemus" translates literally as
"Yesterday's rose endures in its name, we hold empty names". The general sense, as Eco pointed out,[4] was
that from the beauty of the past, now disappeared, we hold only names.[5] For the novel the identity of the lost
"rose" could be interpreted several ways, such as Aristotle's lost book, the destroyed library, or the girl -
but the film focuses on the last option in its own closing line.

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