In some happier times for most people word “medieval” was just a colourful phrase used in Pulp Fiction. Today it is used as convenient description how the world would like if current carnage in Eastern Europe continues to escalate (in more optimistic scenarios). On the other hand, films that used phrase “medieval” in its proper meaning – Europe during Middle Ages – are many, but most use it as convenient setting for action and adventure. Among those few that actually botheried to depict that era accurately and realistically an interesting example is The Name of the Rose, 1986 period thriller directed by Jean-Jacques Annaud.
Film is based on the best-selling novel by Italian writer Umberto Eco, often hailed by critics and literary scholars as one of the best and the most important books of 20th Century. Plot, narrated by old Franciscan monk Adso of Melk (voiced by Dwight Weist), begins in 1327 and shows how young Franciscan novitiate Adso (played by Christian Slater) accompanies Franciscan monk, scholar and his teacher William of Baskerville (played by Sean Connery) on his journey towards unnamed Benedictine abbey in Northern Italy. There he is supposed with other Franciscans to attend important theological debate with papal emissaries about poverty of Christ; the outcome might determine whether Franciscans will continue to be part of Catholic Church or deemed heretics and be viciously persecuted. Before the debate begins, Baskerville notices some strange details in the abbey and its abbot (played by Michel Lonsdale) informs him about unexplained death of a monk. Baskerville is asked to use his famed intellectual abilities to solve mystery. As he does so, few monks get murdered and Baskerville begins to suspect that motive has to do something with abbey’s famous scriptorium which includes manuscripts of many important books from Antiquity, including those that were banned for contradicting or looking threatening to official doctrine of Church. Baskerville’s investigation is supposed to end with arrival of Holy Inquisition, led by chief inquisitor Bernardo Gui (played by F. Murray Abraham), Baskerville’s former rival.
Eco’s novel is known for its rich content and, apart from murder mystery, is often seen as treatise on various subjects that involve philosophy, politics, theology and literary theory. French director Jean-Jacques Annaud knew that his film adaptation couldn’t have such a broad scope, so he mostly concentrated to mystery segment, with Church politics subplot serving as mere background. On the other hand, Annaud, known for Quest for Fire, one of the most realistic and accurate depictions of Stone Age in history of cinema, used this opportunity to give audience realistic glimpse in the era usually associated with violence, poverty, hunger, disease and religious fanaticism. The Abbey, reconstructed partially by location shots in real-life Eberbach Abbey in Germany and partially by massive set in Rome’s films studios, is depicted as cold, dark and unpleasant place, populated by grotesquely looking monks whose life might look bad, but it is exponentially better than those of the peasants that occasionally come under abbey’s walls to get abbey’s food scraps.
Some of the images are unpleasant, but the cast of the film is very good. Sean Connery, despite Scottish accent that makes him unusual choice for playing English monk, delivers more than satisfying performance, confidently portraying one of the few characters in the film that relies more on logic and intellect than emotion or faith. In the role of a character that uses brain instead of brawn Connery confidently helps us forget his James Bond persona and instead succesfully portrays medieval version of Sherlock Holmes. Young Christian Slater is also good in the role that requires him to play this film’s version of John Watson, but also take part in somewhat awkward, graphic and potentially controversial sex scene with Chilean actress Valentina Vargas who plays half-feral village girl. While F. Murray Abraham is wasted in somewhat one-dimensional role of tyrannical villain, there are some great performances among actors playing other monks – Ron Perlman as half-demented and physically grotesque monk Salvatore; Austrian actor Helmut Qualtinger as monk who hides heretical views and Feodor Chialapin Jr. as blind monk that considers laughter and humour incompatible with faith.
Those good performances in many way rescue film that would otherwise look like big failure. Eco didn’t like the adaptations because too much of his work was left out of screen. The viewers unfamiliar with the literary source, on the other hand, could notice rather uninspired musical score by James Horner as well as some unfortunate directing choices near the end, where many scenes look confusing. The abrupt ending also features half-hearted and not particularly successful attempt to bring some sort of happy ending to The Name of the Rose. Yet, for all of its flaws, this film deserves attention, at least among fans of great Sean Connery. Eco’s novel was in 2019 adapted again, this time in form of television miniseries starring John Turturro.
RATING: 6/10 (++)
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