The Name of the Rose: From Controversial Adaptation to Historical Thriller Classic
Jean-Jacques Annaud’s 1986 film The Name of the Rose, a complex adaptation of Umberto Eco’s novel, stands today as a classic of the historical thriller genre despite a difficult initial reception. While the film currently holds a 72% approval rating from critics on Rotten Tomatoes and an 82% score from audiences, it faced significant hostility from Italian critics upon its release, with Il Messaggero labeling the work a “crime.”
Director Jean-Jacques Annaud was an admirer of Umberto Eco’s work and purchased the rights to the novel immediately upon its publication, spending four years working on the project before its eventual release as a co-production between Italy, France, and Germany.
The Challenge of Adapting Eco
Annaud’s primary obstacle was translating a dense literary phenomenon into a cinematic format. To bridge the gap between Eco’s philosophical, theological, and semiotic debates and a commercial audience, the director chose to sacrifice some of the source material’s intellectual weight to prioritize suspense and romance.
The film centers on the Franciscan friar Guillermo de Baskerville, played by Sean Connery, and his disciple Adso of Melk, played by Christian Slater. Together, they investigate a series of murders within an isolated Benedictine abbey. The narrative structure mirrors a Sherlock Holmes-style investigation, a decision that helped the film move beyond a simple mystery according to critic Nick Rogers, who noted that the “why” of the crime is as significant as the identity of the perpetrator.
The transition of The Name of the Rose from a hostile critical reception to a revered status suggests that audiences often require time to reconcile complex literary adaptations with their own expectations. By choosing to emphasize suspense over the novel’s original theological density, Annaud established a precedent for how filmmakers might handle “unadaptable” intellectual properties in the future.
Recognition and Legacy
The film’s success eventually earned it professional validation, including a BAFTA for Sean Connery’s performance and an additional BAFTA for the production’s makeup, which was highly regarded for its detailed historical recreation. The production also secured a César award in France for best foreign film.
Industry analysts might expect that the film’s enduring popularity—evidenced by over 25,000 user ratings—could influence how studios approach similar literary adaptations. Future projects of this nature may continue to look at Annaud’s strategy of balancing genre-driven storytelling with high-concept source material to ensure both critical longevity and audience engagement.
Frequently Asked Questions
How did the original Italian critics react to the film?
The reception was largely cold and hostile, with the newspaper Il Messaggero criticizing the adaptation with the headline, “¡Qué delito esta rosa!” (What a crime this rose is!).
Why was the film considered difficult to adapt?
The novel contained extensive debates on philosophy, theology, and semiotics that many considered unsuitable for a mainstream film, forcing the director to make significant narrative adjustments.
What awards did the film win?
The production won two BAFTA awards—one for Sean Connery as best actor and another for its makeup—and received a César award in France for best foreign film.
Could the success of this film encourage more studios to take risks on complex, philosophical novels in the coming years?