The Rocky Road to Filming ‘The Name of the Rose’
Umberto Eco’s The Name of the Rose is considered a landmark achievement in 20th-century literature, celebrated for its intricate plot and labyrinthine structure. The journey to adapt this complex novel into a film was equally challenging, marked by casting difficulties, production hurdles, and creative clashes.
Casting the Lead: From Nicholson to Connery
Director Jean-Jacques Annaud spent two years searching for the perfect actor to portray William of Baskerville. He initially approached a wide range of stars, including Jack Nicholson (deemed too expensive), Michael Caine (unavailable due to scheduling conflicts), and Robert De Niro (who insisted on a sword duel). Other actors considered included Ian McKellen, Richard Harris, Donald Sutherland, and Albert Finney.1
The breakthrough came with an unexpected call from Sean Connery, who was experiencing a career slump in the 1980s. Despite initial reservations from Eco, who doubted Connery’s ability to shed his James Bond persona, Annaud was captivated by his voice and nuanced portrayal during the audition. Eco later changed his mind after seeing Connery in costume, appreciating his interpretation of the character’s intellect and irony.
Production Challenges and Location Scouting
Paramount initially threatened to abandon the project if Connery remained cast, leading to West Germany (GFR) becoming the primary production financier. Finding a suitable location to represent the abbey proved equally difficult. Annaud sought a location resembling Eco’s description of an “unbreakable castle,” ultimately utilizing the German monastery of Eberbach for scenes of the church, cloister, and scriptorium, and the Castle of Rocca Calascio in the Apennines for exterior shots and the film’s final scene.1
A massive film set was constructed at Cinecity Studios in Rome, inspired by the impossible stairs of M.C. Escher, creating a challenging environment for lighting and sound technicians. Annaud insisted on using authentic materials like stone, wood, and aged plaster, and directed that the set and costumes remain uncleaned to maintain a sense of age and grime. He also cast numerous individuals with visible physical deformities as extras.
On-Set Tensions and Critical Reception
The production wasn’t without its interpersonal conflicts. F. Murray Abraham, fresh off his Oscar win for Amadeus, reportedly created tension on set with a perceived air of superiority, which some found off-putting to Connery. The filming of a scene involving Christian Slater, who was 15 at the time, also presented challenges, aiming for a realistic portrayal of his character’s confusion.
The Name of the Rose was a commercial failure in the United States but achieved significant success in Europe, grossing over 70 million dollars.1 The film revitalized Connery’s career, leading to roles in The Untouchables (for which he won an Oscar), Indiana Jones and the Last Crusade, The Hunt for Red October, and The Rock.
the film successfully translated Eco’s complex philosophical and structural perform into a compelling cinematic experience.