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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.

I've seen this movie several times. It's a great movie. My problem is that I watched it the other night on Prime Video and the sex scene had been edited out. For me, the sex scene is absolutely needed to understand how deep the young man's emotions run. At the end of the movie, the narrator goes on and on about the woman and he will never forget her face. She had such an impact on his life that he carried her face in his mind until his dying days. I believe the sex scene is absolutely necessary for the viewer to FULLY understand his reasoning. She caused him to leave the priesthood. Put the sex scene back in. I'm glad I own the full movie on blu ray.

I remember this film made a huge impression on me when I first saw it in the cinema almost 20 years ago. I think I watched it three times in a couple of months. Recently, I purchased the DVD and my memory did not prove me wrong, the film is still great. It is a quite free adaption of Umberto Eco's novel, and if you have just recently read it, you may be irritated by all the deviations from the story of the book. But it is important to remember that to fit a 600-page, quite academic novel into a two-hour movie one just have to make adjustments. In fact, I have to admit that I think the movie is superior to the book. The book is very good indeed, but to my taste slightly too dry. The movie is perhaps more "shallow", but it has a totally unique atmosphere and an exciting plot. Sean Connery does one of his best, if not the best, role as a combination of Sherlock Holmes and a medieval philosopher. Very entertaining indeed! If you buy the DVD, the extra material is almost as interesting as the movie itself. The almost two-hour interview with the director Annaud is very inspiring, and he really comes over as almost a renaissance man. Very thoughtful, yet energetic and with a real purpose to his work. I remember when I first saw the movie, that I felt I had never seen any movie which so convincingly pictured life in the middle ages. When we hear about all the painstaking work that went into making the movie historically correct, this is no surprise.

The Name of the Rose undertakes an incredibly challenging project, aiming to bring to the big screen a massive book by Umberto Eco of immense complexity: Medieval history, theology, disputes among internal factions within the church, the intricate issues of medieval heresies as a social phenomenon, literature and art. All of this encapsulated within an investigation into mysterious murders in an Italian abbey in 1327 AD.

Anyone who has read Umberto Eco's book knows how detailed the author is in portraying these complex aspects, which are no longer obvious or easily understandable for a contemporary reader. Umberto Eco certainly has his own opinions on these themes, but still manages to paint a very authentic literary picture of that era.

Does the film achieve the same? No.

The casting is wonderful, especially Connery, but young Adso, played by Slater, is also well interpreted. The film focuses on the story of the investigation, which is undoubtedly the thread that ties the narrative together.

What bothers me most about this film is the depiction of the monastery and that distant medieval era, far from the historical reality described by Eco: The monks are mostly grotesque figures, dirty, crazy, deformed, obscene. The common folk, on the other hand, seem like a bunch of monkeys incapable of speaking, eating garbage thrown out of the monastery. The atmosphere always seems dark and devoid of light, as if to represent that era. This is a cinematic stereotype of the Middle Ages that is far from historical reality.

Monasteries were places where manuscripts were safeguarded, transcribed, and translated for centuries, without which we wouldn't have been able to read them today. The period of the High Middle Ages, in which the story takes place, was a time of great innovation for the era: agricultural innovations, the flourishing of universities, advancements in mathematics and civil engineering that allowed the construction of the marvelous Gothic architecture we can still admire today, infrastructure development.

We can't look back today and judge that era through contemporary lenses. Many concepts and innovations required time to develop before reaching us. What may seem obvious to us today was not so at the time, so it's necessary to empathize with the mentality of that era to understand its various nuances. Eco tries to do this in his book, but the film does not. The film settles for using clichés and a false stereotype of the Middle Ages.

The film manages to maintain tension and an interesting story, mainly because it follows the intriguing investigative plot of the original material. In this sense, it is certainly worth watching. However, I would still recommend to those who enjoyed this film to read the book.

If you like movies to send you back to another historical period, there are few which can do it more effectively than this one. The period is pre-enlightenment when the only books in the land (Italy) are owned by the different denominations of the Catholic faith. Inquisitions are the order of the day and the atmosphere of mistrust and misrepresentation which accompany such a fragile state, is expertly realised.

Enter Sean Connery playing a Sherlock Holmes (`…Elementary my dear Wat-shun…') from the dark/middle ages, replete with a magnifying glass of sorts and a recognisable system of logical deduction. The story is a fine balance of complexity (easy enough to follow, but not too simplistic) with the inclusion of a number of sub-plots to keep it all ticking along nicely. The acting is very good but what makes it stand out is its evocation of another era, which is reproduced with authority. Highly enjoyable.