The Name of the Rose

misubisu 11/2/2025 7:52:29AM 8.4

## **The Name of the Rose (1986) Review: A Perfect, Pitch-Black Gothic Masterpiece** Jean-Jacques Annaud's *The Name of the Rose* is not merely a film; it is an atmosphere, a puzzle box, a philosophical war waged in the shadowy corridors of a decaying abbey. It is a perfect alchemy of intellectual thriller and gothic horror, and decades after its release, it remains an untouchable classic—a film that earns every minute of its runtime and deserves nothing less than a perfect score. ### A Labyrinth of Stone and Sin The premise is deceptively simple: the year is 1327. Franciscan monk William of Baskerville (Sean Connery) and his novice Adso (a young Christian Slater) arrive at a remote Benedictine abbey for a theological disputation. Instead, they find a series of gruesome, inexplicable deaths that the superstitious monks believe are the work of the Devil. William, a man of reason and logic far ahead of his time, must use his deductive powers to uncover the truth before the Inquisition arrives to burn it—and anyone nearby—at the stake. The abbey itself is the first great character of the film. A monolithic, claustrophobic maze of staircases, scriptoriums, and shadowy recesses, it is a character in its own right. The cinematography is a masterclass in gloom, using natural light from torches and windows to paint a world literally and metaphorically emerging from the Dark Ages. The sense of dread is palpable, a chilling mist that seeps from the stone walls. ### The Unforgettable Performances **Sean Connery** is, quite simply, iconic. He sheds his James Bond persona completely to become William of Baskerville—a man of wry wit, profound intelligence, and a deep-seated weariness with human folly. His performance is the film's brilliant, logical heart. Opposite him, **F. Murray Abraham** delivers a chilling, Oscar-worthy performance as the Grand Inquisitor, Bernardo Gui. Their confrontations are not physical battles but electrifying duels of ideology and intellect. But beyond the two titans at its centre, the film is populated by a gallery of unforgettable faces, two of which leave an indelible mark. **Ron Perlman as Salvatore:** In a film full of brilliant casting, Ron Perlman's performance is a standout. Under some of the most convincing and grotesque prosthetic makeup of the era, Perlman completely vanishes into the role of the deformed, simple-minded cellarer's assistant. He is a creature of grunts and fractured, multi-lingual speech, a living embodiment of the era's poverty and superstition. Yet Perlman infuses him with a pathetic, almost childlike humanity. You fear him, you pity him, and you cannot take your eyes off him. It is a physical and vocal performance of astonishing commitment that adds a crucial layer of visceral, earthly grime to the film's high-minded intrigue. **Feodor Chaliapin Jr. as Jorge de Burgos:** If Salvatore represents the body's decay, Jorge de Burgos represents the mind's corruption. Played with terrifying, serene authority by Feodor Chaliapin Jr., the blind, ancient librarian is one of cinema's greatest and most understated villains. Chaliapin, with his clouded eyes and voice like crumbling parchment, is utterly mesmerizing. He is a monument to dogma, a man so convinced of his own righteousness that he is willing to commit any sin to protect it. His final scenes in the labyrinthine library are some of the most tense and philosophically charged in film history. He is not a cackling monster, but a calm, intelligent, and truly terrifying force of anti-knowledge. ### The Verdict: A Timeless Classic **10 out of 10 - A Flawless Gothic Tapestry** *The Name of the Rose* is a rare film that satisfies on every level. It is a gripping detective story, a profound historical drama, a chilling horror, and a biting satire of religious hypocrisy—all woven together with impeccable craft. The direction is assured, the script is intelligent and witty, and the atmosphere is thick enough to taste. It is a film that respects its audience, trusting them to follow its complex mystery and weighty themes. And at the heart of its dark, magnificent tapestry are performances—from the legendary leads to the unforgettable character actors like Ron Perlman and Feodor Chaliapin Jr.—that are etched in memory forever. It is, and will likely remain, perfect.

CinemaSerf 10/19/2023 6:08:14PM 8.4

Recently I saw a restored version of "The Black Pirate" - made in 1926 and that was in far better condition that the print I saw of this 1986 iteration of the cracking Umberto Eco novel. Set amidst the fear that beset the Christian world during the Holy Inquisition, we find ourselves at a remote abbey run by Michael Lonsdale. There is to be a gathering to facilitate a theological debate between the Franciscans and the Vatican. To that end, "William of Baskerville" (Sean Connery) and his novice "Adso" (Christian Slater) have travelled to this rather bleak location. Their arrival is tainted with sadness and mystery, though: a young monk has mysteriously died. "Baskerville" asks permission to look into it and is soon inveigled in a complex investigation that is proving distinctly perilous for almost all at this abbey. What is the secret? Can they deduce that before the arrival of the dreaded "Bernardo Gui" (F. Murray Abraham), the powerful instrument of the church who thinks nothing of burnings at the stake? This is a great story of medieval intrigue that is well enhanced here by a strong supporting cast - notably an almost unrecognisable Ron Perlman as "Salvatore"; Feodor Chaliapin Jr. is really quite intimidating as the Venerable "Jorge" and Michael Habeck's "Brother Berengar" has something creepy and distinctly un-Christian about him. As the story progresses we realise that this is actually a story about not just fear of the Inquisitors - but of the very power of the written word. Of the power of education and enlightenment - and the lengths some will go to keep the poor - potently exemplified here by Valentina Vargas - in their place. The cinematography of this dark, cold and unforgiving place adds richness and a malevolence to this film that really does resonates an effective eeriness - an evil, almost. Connery and Slater? Well perhaps not my first choice here - but they are not terrible and the former does bring a little gravitas to the role that just about works. Given all the dross that's getting 4K upgrades these days, surely this one has to merit a bit of TLC.

Gimly 6/23/2021 3:58:15PM 8.4

At first I was like "Hah, this is some kind of Sherlock Holmes but a priest thing!", and then I was like "Oh, this **is** some kind of Sherlock Holmes but a priest thing!" _Final rating:★★★ - I liked it. Would personally recommend you give it a go._