I have tried to limit this list to proper period dramas (no animated features or alternate histories) and arrange them…
The Name of the Rose
Who, in the name of God, is getting away with murder?
In this adaptation of Umberto Eco's best-selling novel, 14th-century Franciscan monk William of Baskerville and his young novice arrive at a conference to find that several monks have been murdered under mysterious circumstances. To solve the crimes, William must rise up against the Church's authority and fight the shadowy conspiracy of monastery monks using only his intelligence -- which is considerable.
'A film? They're making a film from The Name of the Rose? They must be mad. There's quite a number of layers in this wonderful book that it's doomed to fail.' That's what i said when someone told me Jean-Jacques Annaud was filming The Name of the Rose. Poor, young, dumb me. I stood corrected after the first scene and I liked every second of it. Hell, it should have been a longer film.
Jean-Jacques Annaud did a great job with Umberto Eco's book, one of the best books I reads in the 1980's ('till now, actually..). My grandmother bought it for me when I was 15, on March 3rd, 1984. I was sucked into medieval and clergy Europe before…
I'm stumped by this bizarre detective story set in an Italian monastery in the year 1327. The acting, the casting, the pacing, it's all way off, and yet it never dips below enjoyable. From the very first few moments you know you're in for good time, and that does indeed turn out to be the case. That sex scene, however, has left me a little scarred.
Una película muy importante en mi infancia tardía, definitivamente fue de las cinco primeras que descargué y la veía incansablemente. Fue, también, la primera película en la que recuerdo haber identificado un subtexto (sobre el elitismo en la preservación cultural y la necesidad de la comedia como método contestatario, ahora me parece algo obvio pero bueno, en su momento me sentí brillante) bastante antes de saber lo que eso significaba.
Vista ahora, ¿siete? años desde la última vez, me sigue pareciendo una película muy ágil y divertida pero rodada de una manera muy pobre.
(Además, la he visto en un cine de verano que han montado en una terraza bastante amplia de una cafetería con una edición dvd que no respetaba el formato original y que ha modificado el doblaje en un par de ocasiones, ¡la magia de la experiencia colectiva!)
The name of the rose is a bleak, eerie and atmospheric film. Every character, every room has an odour of something dark and dangerous. The original book was always going to be difficult to film but I don’t think it could have been done any better as there is a real sense of lurking dread in what is meant to be a holy place but in actuality is anything but. Some may feel that Sean Connery is not the most suitable actor for this type of film but I find his quiet, calming approach to solving the mystery nicely sets him apart from the other characters that seem almost freakish in comparison.
Special mention must go to Ron Perlman who is quite brilliant as Salvatore the hunchback.
I’m not sure how history remembers this film, for me it’s an entertaining and nicely made film that carries such an uneasy and foreboding atmosphere.
Incredibly textured and atmospheric medieval-period whodunnit, with a standout turn from Sean Connery. Much of the credit for the film's appeal must go to the stunning imagery of noted Italian cinematographer Tonino Delli Colli (Once Upon a Time in the West, Salò), but it's also engaging as a murder mystery.
Why I saw this movie? The first time I saw this movie I hated it. I thought it was the most boring movie that I had ever seen. Thought I would give it another spin now that I am older and wiser.
What is this one about? Sean Connery pretty much plays a Sherlock Holmes monk while Christian Slater gets the Dr. Watson part. Their case? Find out who is killing the monks and what does a book have to do with it.
My thoughts on this one? I liked this one much more on the second viewing. It is still not a very entertaining movie....but I liked Connery performance more this time around. The solution to the mystery is…
Film #24 of Smiler Grogan's Scavenger Hunt
Task 19/30: A film starring Sean Connery
I've never read the book this is based on, so how well it interprets that work I cannot say. What I can say is this was a wonderful mystery and a great film. I loved Sean Connery, whose character came across - successfully - as both man of god and man of reason. He has a gravitas in this role that I haven't seen from him in other roles. I think this is my favorite film from him, overtaking the enormously fun Darby O'Gill and the Little People.
Everything else works very well in the film as well. F. Murray Abraham is chilling as the…
"'How peaceful life would be without love, Adso.
"How safe. How tranquil. And how dull."
A rare masterpiece, from a great book a great movie.
“A book like this is a club sandwich, with turkey, salami, tomato, cheese, lettuce. And the movie is obliged to choose only the lettuce or the cheese ...” Those were Umberto Eco’s remarks on this 1986 adaptation of his 1980 novel. On one hand, how amusing (fitting?) that an internationally lauded semiotician interested in linguistic ambiguity so purposefully minced words with a metaphorically meh response. On the other, unduly harsh on a film that had to excise postmodern trappings and scholarly sidebars. But it's no tawdry whodunit. Here, the whydunit still matters as much.
This review may contain spoilers. I can handle the truth.
Saw with O and V, at O's place. Bought on Amazon Prime.
The description of this film promises us a battle of wits between Sean Connery playing a proto-Sherlock-Holmes and the dogmatism of the medieval church, which sounds totally badass. The trouble is the movie cannot deliver on this promise... because it is a movie, and not the highly cerebral novel (by Umberto Eco) on which it is based. For example, the entire mystery hinges on the motivations of a particular character relating to a particular book - and the only lines of dialogue giving any insight into his feelings about this book are delivered offhand, while a lot of crazy onscreen action is going on, in a context that…
If you like The Da Vinci Code but are disappointed that Robert Langdon isn't Scottish.
Does a great job of creating a grotesque, filth-covered medieval world. Not quite as great at creating interesting characters with more than one dimension. The whole angle with the peasant girl made absolutely no sense, despite of the movie trying to give it resonance in the ending voiceover.
O Nome da Rosa conta uma história de mistério cercada por uma atmosfera sombria, nublada e úmida criada por imagens envoltas em sombras e personagens cheios de segredos e segundas intenções. Segundas intenções erroneamente baseadas na fé e em um modo de pensar que condenava a ciência e o uso de raciocínio lógico pois estes seriam capazes de colocar dúvida nos homens, enfraquecer sua fé e acabar tirando o poder das instituições que o detém.
Iniciando com um enquadramento sugestivo de dois monges seguindo numa trilha de um campo aberto e então afastando se deles para mostrar um tronco queimado fincado no chão que já indica o que vem pela frente, a história usa o mistério dos assassinatos na abadia…
Based on Umberto Eco's first novel, the film abandons many of the more complicated aspects of the book to squeeze into its two hour run time. What's left is a dense movie which wildly speculates why Aristotle's Second Book of Poetics (describing the philosopher's theory of comedy) was destroyed in the Middle Ages.
While flawed, it's a tantalizing exploration of the power of laughter and the complex relationship between faith and science. It works because of our enduring love of conspiracy theories and peak Sean Connery.
This list is the Letterboxd version of The Oxford History of World Cinema.
The book celebrates and chronicles over one…
all credit to Tim Dirk's filmsite.org
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