THE NAME OF THE ROSE. Directed by Jean-Jacques Annaud; written by Andrew Birkin, Gerard Brach, Howard Franklin and Alain Godard; produced by Bernd Eichinger for Twentieth Century Fox. Starring Sean Connery and Christian Slater. Rated R (a little nudity and sex; a lot of grotesque and sometimes violent situations and images).
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OK, class, it's test time here in Medieval History 101. Questions: What was the difference between the Benedictine and Franciscan orders in the 14th century? Besides the colors of their robes. Next, compare and contrast the thought processes of the typical Medieval and early Renaissance person. Finally, a bonus for extra credit: What is a palimpsest?
This exam's not so tough. All the answers can be found by carefully watching The Name of the Rose. (Except for the bonus, and the movie even gives you a hint there.) A movie that's like a history lesson may sound pretty dull. But, believe me, this one's not. It's history as presented by one of those inspired teachers who does things like reenact the Battle of Yorktown when you're studying the American Revolution.
Besides, The Name of the Rose isn't just a historical period piece. It's a pretty fair country murder mystery, with one of the most unusual motives you're likely to come across. There's also a dash of rather high-brow humor, a peculiar but moving love story, and, at least toward the end, plenty of suspense and excitement.
The story is set in a Benedictine abbey in northern Italy, 1327. Running concurrently with an important theological debate is what looks like a set of serial murders. It's fortunate—so we would think, anyway—that one of the debaters is William of Baskerville (Connery), renowned for his knowledge of the classics AND his powers of deduction. (And possessing one the best character names in the history of movies.)
But this is the Dark Ages, as they used to be called, when logic and deduction are largely underappreciated methods of problem solving. Rather than being ruler in the kingdom of the superstitious, the logical man is suspect. Simple deduction, to the unobservant and naturally fearful, can seem like black magic. And with witches and heretics being routinely burned at the stake, William could find himself in a heap of trouble by movie's end.
Director Annaud, who brought the world of primitive man to life so convincingly in Quest for Fire, does an even more remarkable job here, with an only slightly less alien species. The sets, cinematography, costumes, props, everything, give an incredible—and often uncomfortable—realism to the entire movie.
Connery is at his best as William. He's sardonic, intelligent and always sure of himself, yet still likeable and believeable. And Slater, as William's novice, is a sympathetic and appealing narrator.
F. Murray Abraham is excellent as Inquisitor Bernardo Gui (another great name!), who is sent to solve the mystery the "old fashioned" (that is, the Inquisition's) way. It would have been interesting to see more of William and Gui one on one. But the latter is so unremittingly evil that I'm glad he's in the movie only briefly. Viewers can take just so much wickedness.
Though The Name of the Rose boasts many virtues, I must also make note of its faults. The pace is slow, perhaps too slow for some moviegoers. There is also a great deal of crudity and ugliness on view here, in the interest of medieval realism. To be sure, those were tough, brutal times. But we could perhaps do with a little less of the shock value of disembowelings, autopsies and the like. Ugh.
The murder mystery tends to get lost in theological mumbo-jumbo near the end of the movie, which is a disappointment. But then, the story doesn't mean to imitate Conan Doyle. The gentle Sherlock Holmes parody is only one of many irons in the fire (sorry for the grisly pun) here.
But for patient viewers with strong stomachs (or quick look-away-and-back reflexes) The Name of the Rose is a delightful film that's just as enjoyable in repeated viewings. And few murder mysteries can say that.
NOTE: this movie made my 10-best list for 1986.
November 5, 1986