The Name of the Rose


Action / Crime / Drama / History / Mystery / Thriller

Rotten Tomatoes Critics - Certified Fresh 76%
Rotten Tomatoes Audience - Upright 85%
IMDb Rating 7.8 10 88054


Uploaded By: OTTO
Downloaded 70,286 times
September 26, 2011 at 08:05 PM


Sean Connery as William of Baskerville
Ron Perlman as Salvatore
Christian Slater as Adso of Melk
F. Murray Abraham as Bernardo Gui
720p 1080p
695.73 MB
23.976 fps
2hr 10 min
P/S 4 / 81
1.95 GB
23.976 fps
2hr 10 min
P/S 1 / 6

Movie Reviews

Reviewed by mightymariner 10 / 10

Flawless book, almost flawless film

I've been enjoying films for 20 years now, and this is the first comment I've put on any film website. I've always had the mickey taken out of me for loving this film, and it's right up there amongst my favourites of a very eclectic bunch. Why? Well, firstly and I have to say, very importantly, it's taken from the finest piece of modern literature I've read. Umberto Eco's novel has such mammoth scope of subject matter and detail, it is was always going to be extremely hard to put into film (Dune anyone??), and Annaud certainly doesn't succeed in every way, but my lord he gives it a damn good go. The film quite rightly focusses on the human story within the book of a group of murders committed at an Italian abbey in the 14th Century, and the ongoing search for the purpetrator, by a Franciscan monk and his apprentice. The book encompasses many other issues and plotlines, which could not be fitted into the film. The three screenwriters do an excellent job, of filming the almost impossible to within 2 hours or so. Most importantly to me, the cinematography and set are sublime, almost unsurpassed in modern film to my mind, and still to this day amazing. I've always found that many non movie-lovers remember this film, for good or bad. The main reason for me is that it recreates so impressively the period it represents. Tonino Delli Colli, I salute you. The production team deserves a similar merit for bringing together what was in essence an European co-production, whilst not forgetting the biggest exterior set built in Europe since "Cleopatra". Step forward Dante Ferreti. I salute you too. 0.1 of a mark off for the editing, but let's not dwell on that. The acting is, bar none, marvellous, with even Christian Slater in his first main role putting up an extremely decent stab of being an apprentice monk.

I like a good whodunnit, but I adore a whodunnit which throws in the visual magnificence of a different age, top notch performances, a script taken from a extraordinary source, and assured directing. 10 out of 10, and my mates can carry on taking the mickey out of me.

So in summary, I'll leave it to the director himself.. `When I see a film, I love it when I'm entertained, when I care for the actors, when I share their emotions, when I'm scared, when I'm in love, but also if I learn a little something, if I have the feeling that I haven't seen something before, and that's what `The Name of the Rose' has.'

Reviewed by Edward Lamberti 5 / 10

One of the most underrated movies of the eighties

Umberto Eco's novel has something of a reputation as one of the great unread bestsellers. To have it on the shelf in the early eighties was a fashion statement as much as it was a literary necessity. And yet when the film was released, it was attacked for being an ineffective adaptation. Turning the 600-page novel, a detective mystery enriched by descriptions of medieval life and semiotic ruminations characteristic of Eco's academic writings, into a mainstream two-hour movie was, of course, ambitious. Four credited screenwriters and an international co-production gave off a sense of struggle and indecision. The movie was, and remains, easy to deride.

It's true that the film, directed by Jean-Jacques Annaud, has to skip, or skirt, much of Eco's detail - the famous pages-long description of the doorway, for example, is acknowledged by a few camera shots - but it takes the novel's literary strengths and offers a cinematic equivalent: a vivid depiction of monastic life which thrusts the viewer into the period of the story. In this respect, the production is exemplary: cinematographer Tonino Delli Colli, art director Dante Ferretti and composer James Horner were all operating at the top of their game.

And, as Renton in Trainspotting (1996) knows, Sean Connery proved a perfect choice as William of Baskerville, the 14th-century Sherlock Holmes figure investigating the deaths in an Italian monastery. It's one of Connery's best performances, a happy marriage of character acting and star casting: he suits the physical description of William and he properly conveys the character's wisdom, caution and sense of regret. Christian Slater's Adso, the narrator of the novel, is a surrogate for the viewer, expressing bafflement at the mystery story and awe at William's deductive powers; while F. Murray Abraham works wonders with the underwritten part of the inquisitor Bernardo Gui.

The Name of the Rose is one of the most underrated movies of the eighties. That it wasn't brilliant should not detract from the fact that it's as good as it is.

Reviewed by Jonathon Dabell ([email protected]) 9 / 10

Criminally underrated by some, hailed as a masterwork by others. Who's right? The "masterwork" campaigners, of course!

'Variety' got it completely wrong when they called this film "sorrowfully mediocre" and "sluggishly staged". For in all honesty The Name of the Rose is one of the greatest films of the '80s, and a film that grows in greatness every time you revisit it. Based on a major bestselling novel by Umberto Eco, the film is an excellent murder mystery further heightened by its authentic period trappings and a clutch of tremendous performances.

Brother William of Baskerville (Sean Connery) and his young apprentice Adso (Christian Slater) are monks who arrive in a 14th Century monastery having been summoned for a religious conference. Soon after their arrival, a series of bloodthirsty murders take place and the friars still alive begin to fear that either the Apocalypse is upon them, or a highly disturbed individual is out to bump them off. Brother William has a penchant for sleuthing, so he probes into the mysterious deaths and discovers that each victim had laid his eyes upon a Greek manuscript hidden deep within the interior of the monastery. He gradually realises that the killer must be targeting those who know of the book's existence, but just as he is about to solve the killings an inquisitor (F. Murray Abraham) arrives and tries to discredit Brother William's theories, preferring to blame the crimes on non-existent heretics and satanists.

The film is very realistic in every way - the cold, uncomfortable monastery; the graphic murders; grotesque and disfigured characters; a startlingly explicit sex scene; authentic-sounding dialogue; excellent indoor and outdoor locations; and well-researched costume designs. Furthermore, it is a superbly paced film, never in too great a hurry to unravel but never so slow that it becomes a plod. Connery is great as the hero, surpassed only by Abraham in a breathtaking role as Bernardo Gui the inquisitor, and Slater does well considering his tender age as the loyal apprentice. Both Roy Scheider and Michael Caine were short-listed for the Connery role, but I don't see how either actor could've done better with the character. Jean Jacques Annaud directs outstandingly, capturing every shadow, every expression and every plot piece with the eye that only a director obsessed with his material possibly can. The Name of the Rose makes the top #50 of the 1980s without question.

Read more IMDb reviews


Be the first to leave a comment