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I never saw this film in the theatre. I saw it on TV many years ago and was enchanted with the medieval setting. I objective recently got the DVD when I remembered the movie due to discussion of the book on an internet board I post on.

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All I can say is that I am in dismay of the work done by the director in bringing the book to the cover. The visuals alone scream exactly the sense and the setting that Eco took pages and pages of info dump to allude to.

The size of the whole complex with tiny poorly clad men scuttling over it at the mercy of the weather accurately places man (in the opinion of the time) between cruel and capricious nature (i.e.: godlessness) and being dwarfed by the huge buildings dedicated to god, which record his power and importance in the world, and the miniature stature of man.

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The black interiors, lit only by fire highlight the fright, superstition and lack of education and outside contact that the average ’simple’ person had. It made accurate the poverty and the fear and the precarious gain on life the people had, and how they would assume at anything that promised safety and salvation. How it was so easy to possess in demons, and witches and other physical manifestations of their hard life. The unfamiliar seek of the monks also represents the effort of surviving unscathed by disease, or accident.

At the ending of the medieval period the church had grown into a pudgy, rich, bloated institution more keen in temporal matters, and internal minutia (angels dancing on the head of a pin) than on acting as shepherds to god’s flock.

The movie shows the Benedictine monks, the caretakers of the monastery and local flock, as those who started with a genuine heart, yet who uphold the position quo in panic rather than fancy. Because the times have changed, the flock’s needs have multiplied, and the monks have not, they demolish up going through the motions of the religious life during the day, with venality creeping in during the shaded hours: Greed, Sloth, Gluttony, Lust, Acquisitiveness, and Selfishness.

Rather than copy and disburse books to uplift the darkness they veil them away, and prevent the spread of learning; keeping the knowledge as secret like for the acquire within the monastery. There are gradations of the win within the walls, leaving the monks in competition to become ‘more select’, rather than focusing on the needs of their flock, and god’s work. All they do is dump refuse through their sewer and compose the people ride like animals to survive.

This is the setting upon which the future role of the church and god’s location in man’s affairs is to be debated, in the guise of the interrogate `was Jesus unpleasant? ` Where the regular church people are too apprehensive of change, and being branded heretics, yet no longer can really occupy in the simple answers and rituals of the past, or rely on their superiors for trustworthy guidance.

The papal delegation, the Dominicans, are rich, paunchy, and far above the ordinary life of the monks or the ’simple’ peasants. They do not wish to give up the wealth, the life of luxury, the ability to satisfy every personal whim, and the temporal power over kings, states, and the simple peasants that the unique region of the church bestows on them. Within their ranks is an Inquisitor, the believe, and jury they spend to maintain any who ask them in line, with threats of torture, defective death, and damnation. They exhaust the Inquisitor to heed out those who have drunk at the deadly cup of feeble knowledge and who are beginning to interrogate and assume for themselves.

The Franciscans are the group who narrate change, the desire to be free of the trappings of the past, who want to minister to the needs of the people both physical and spiritual and leave power and wealth to Caesar. They are concerned about the friendly and dreadful of the knowledge that can lead one to sin, but they are not all the same and not all want the books hidden or destroyed. Some own that using the reason god gave them, they will regain more to savor the creator for. Though their oldest member, Ubertino shows that they near from the same past as the Benedictines.

The deaths and murders in the monastery are the outward manifestation of unease, sin, and the breakdown of valid understanding in the past solutions the church is preaching. Enter William of Baskerville, and his young novice, who report the coming of the renaissance, the coming of reason, knowledge and enlightenment. They travel within the rhythms of the monastery, while staying factual to their bear beliefs. They try to spot the wrongs to just, and recede the Benedictines to commence their library and disburse the knowledge they hoard, while winning the recount with the papal legation, and ultimately staying alive. In some they are successful, and in some they are not – distinguished like life.

I can’t give the movie 5 stars, because too exiguous time and context was spot up so that the viewer who had not read the book would understand what the debate stood for, and what the Greek book stood for. Without those clues, the movie seems a lot of to-do about some really trivial matters, yet they are peaceful issues we are struggling with today.

This is a movie that you can stare over and over, and take up and revel in all the details, as well as the unbelievable performances. There are some who believe Gui, and Salvatore are over the top, but in fact they are needed as they indicate accurate human passion escaping from the control of a repressed setting. The sex scene is also needed for the anecdote and really rather pleasing.

The movie actually led me to read the book, and I believe that those who complain about the movie being different don’t understand that the movie must be visual, and that what they mediate is lacking in the yarn is mostly presented in the visuals. I agree with the director who said The Name of The Rose is a bestseller which most who occupy don’t read, and that if you can read and understand the book, you can also understand and devour the movie. The quibble about the ending is really a matter of your preference for the tone, hopeful, or not.

The director’s commentary and the documentary on the making of the movie are very estimable, as is the director’s photo tour. The music, sets, lighting, and cinematography are elegant.

The Name of the Rose is a gargantuan film, though some may reflect it unimaginative. One of its best attributes is its realism. Its’ characters really seem like they stepped out of the middle ages. These characters view, command, and act as one might request from this age.

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It is an favorable production as well. The place and dialogue are thoughtful. The visual scenery helps worthy to plot a noble mood. It is graphic enough to have the kind of impact it needs as a mystery/suspense movie. Its’ area evolves nicely as the mystery of the Abbey unfolds. Every actor, particularly Connery and Slater, delivers a sound performance. Each character displays the seriousness one would inquire of from members of medieval religious orders, yet their emotions do point to through at times, revealing the feelings that reside leisurely their clerical exteriors. This film is outstanding.
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