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The name of the rose
With Sean Connery, F. Murray Abraham, Christian Slater, Elya Baskin, Feodor Chaliapin, Jr. and William Hickey.
Directed by Jean-Jacques Annaud
Screenplay: Andrew Birkin, Gerard Brach, Howard Franklin and Alain Godard. Based on the novel by Umberto Eco
I felt like poisoning a monk.
– Umberto Eco, on why he wrote the name of the rose
With his bestselling book, Umberto Eco monks poisoned enough to keep heaven and hell busy for a while. Director Jean-Jacques Annaud (Quest for Fire) Kill them all in the film adaptation of The Name of the Rose.
When the novel was a satisfying and complex mystery that inspired the intellect, the film is a satisfying and complex mystery, inspiration indigestion.
Annaud had sense enough to keep most of the plot – and succeeds even to create most of the humor – the original, but I read the works of Eco their concerns go beyond the plot and mood. The novel was as much a treatise on church history and philosophy of Aristotle, Thomas Aquinas, Bacon and it was a murder thriller. A rich and multifaceted pop entertainment, which was rescued from oblivion by the teaching of his portrait fascinating life in the 14th century Italian abbey intriguing was the cornerstone history.
Sean Connery embodies William of Baskerville (a obvious reference to Sherlock Holmes, the literary father of William), a Franciscan monk who travels with his novice, Adso of Melk (Christian Slater), to Abbey for an upcoming debate with the delegates of the papacy on the issue of poverty in the Church. He soon discovers a series murder in the abbey, the mystery is well suited to his humanist philosophy and logic of deception.
A central problem of this film is that the logic William is very intelligent. Eco condensation in massive 600-page novel, Annaud and his writers removed the thrill of the hunt.
William was a medieval Eco intellectual model, yes – but he makes mistakes. The novel was strewn mental impasse and frustration common. William Annaud not had time to make mistakes. At two hours and fifteen minutes, just long enough to kill us all, listen to the tracks, and conclude the fiasco of some Aristotelian logic.
It all models too crazy.
There are other problems with the movie Annaud. The cast, for example. While Sean Connery is very good – Free Certificate age of his earlier work – much of the distribution seems disappointing. Slater, as a beginner, you need to show more of terror, wears out quickly. F. Murray Abraham (who won an Oscar as Salieri in Amadeus) is good and evil that the inquisitor Bernard Gui – pronounced "Sticky" by its detractors – but his performance is obviously truncated.
And the cast of players is really unobtrusive. Instead develop credible alternatives characters Annaud the characters' faces, making the abbey in a circus. All played as something of a nightmare PT Barnum.
Annaud changes in the direction of the work of Eco more subtly, too, like when Adso is seduced by a farming village (Valentina Vargas). Eco uses this scene well, showing a young monk celibacy necessary reconciliation of his love for the Virgin Mary with their carnal desires. To Adso, was the syndrome last Madonna-whore, and a major turning point in his quest for personal spirituality.
In the book, which has worked well, Annaud but gives no moral dilemma of the time required for the effective performance of the screen. However, democracy gives a love scene, and then ignores Adso anguish and confusion.
The best thing about this film is the abbey itself. Production designer Dante Ferretti (who collaborated with Federico Fellini in such films as Y on the boat sails and Ginger and Fred) oversaw the construction of a Monastery atop a huge mountain on the outskirts of Rome, and filmmakers have focused on more than 300 monasteries before the Kloster Eberbach near Frankfurt, West Germany, for interior scenes. All this attention to detail visual value and Tonino Delli Colli photography beautifully captures the extraordinary landscape.
And you can not deny that the climax of the film – that the burning of heretics is juxtaposed to the combustion Abbey itself – is striking.
However, the name of the rose is destined to disappoint those who have read the novel. Annaud seems have understood this, and the terms of this movie a palimpsest of Umberto Eco's novel as a palimpsest, one can almost see the original in Annaud film too.
The name of the rose should have been an exciting and rewarding. What we get instead is Arthur Canon Doyle.
David Wisehart is the editor of The Wisehart Review – movies, books, and more! Visit http://www.wisehartreview.com/
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