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Directed by | |||
| Jean-Jacques Annaud | |||
Writing credits | ||
| Umberto Eco | (novel "Il nome della rosa") | |
| Andrew Birkin | (screenplay) & | |
| Gérard Brach | (screenplay) & | |
| Howard Franklin | (screenplay) & | |
| Alain Godard | (screenplay) | |
| Jean-Jacques Annaud | uncredited | |
Produced by | |||
| Franco Cristaldi | .... | co-producer | |
| Jake Eberts | .... | executive producer | |
| Bernd Eichinger | .... | producer | |
| Pierre Hébey | .... | associate producer (as Pierre Hebey) | |
| Alexandre Mnouchkine | .... | co-producer | |
| Bernd Schaefers | .... | producer | |
| Thomas Schühly | .... | executive producer | |
| Herman Weigel | .... | associate producer | |
Original Music by | |||
| James Horner | |||
Cinematography by | |||
| Tonino Delli Colli | |||
Film Editing by | |||
| Jane Seitz | |||
Casting by | |||
| Gianni Arduini | |||
| Dominique Besnehard | |||
| Celestia Fox | |||
| David Rubin | |||
| Sabine Schroth | |||
| Lynn Stalmaster | |||
Production Design by | |||
| Dante Ferretti | |||
Art Direction by | |||
| Giorgio Giovannini | |||
| Rainer Schaper | |||
Set Decoration by | |||
| Francesca Lo Schiavo | |||
Costume Design by | |||
| Gabriella Pescucci | |||
Makeup Department | |||
| Klaus Börmert | .... | special makeup effects artist (as Klaus Boerrnert) | |
| Renato Francola | .... | special makeup effects artist | |
| Margrit Guthmann | .... | makeup artist | |
| Ilona Herman | .... | makeup artist: Mr. Connery | |
| Frederike Reimer | .... | makeup artist | |
| Gerhard Reitinger | .... | makeup artist | |
| Hans Jürgen Schmelzle | .... | makeup artist (as Hans-Jürgen Schmelzle) | |
| Maurizio Silvi | .... | special makeup effects artist | |
| Hasso von Hugo | .... | supervising makeup artist | |
Production Management | |||
| Jürgen Bieske | .... | post-production manager (as Jürgen Bieske-Feddern) | |
| Franco Coduti | .... | production manager: Italy | |
| Marco Giannoni | .... | unit manager | |
| Kirsten Hager | .... | unit manager | |
| Wulf E. Hoffer | .... | unit manager | |
| Jürgen Kussatz | .... | unit manager | |
| Gerald Morin | .... | production supervisor | |
| Ike Werk | .... | post-production manager | |
Second Unit Director or Assistant Director | |||
| Gianni Arduini | .... | first assistant director | |
| Stefano Eco | .... | assistant director | |
| Enrico Marrari | .... | assistant director (as Andrea Marrari) | |
| Laura Petrella | .... | assistant director (as Laura Petrella-Elek) | |
| Margot Rothkirch | .... | second assistant director | |
| Victor Tourjansky | .... | first assistant director | |
| Pierpaulo Trezzini | .... | assistant director | |
| Knut Winkler | .... | second assistant director | |
Sound Department | |||
| John Allis | .... | stereo consultant: Dolby | |
| Monika Bergmann | .... | additional dialogue editor | |
| Werner Böhm | .... | adr mixer | |
| Milan Bor | .... | sound re-recording mixer | |
| Eva Claudius | .... | dialogue editor (as Evi Claudius) | |
| Heinz Dittlein | .... | foley mixer | |
| Friedrich M. Dosch | .... | foley editor | |
| Illo Endrulat | .... | additional dialogue editor | |
| Claudia Gehring | .... | assistant dialogue editor | |
| Heiner Harss | .... | foley artist | |
| Norbert Herzner | .... | sound editor | |
| Frank Jahn | .... | production sound mixer | |
| Ulli Kandlinger | .... | adr studio manager (as Uli Kandlinger) | |
| Mel Kutbay | .... | foley artist | |
| Willy Leitenstorfer | .... | assistant adr mixer (as Willy Leitensstorfer) | |
| Evelyn Lukas | .... | assistant sound editor | |
| Raymond Meyer | .... | boom operator | |
| Günther Ruckdeschel | .... | boom operator | |
| Christian Schubert | .... | assistant re-recording mixer | |
| John A. Williams | .... | assistant dialogue editor | |
Special Effects by | |||
| Ignazio Maccarone | .... | special effects electrician | |
| Giancarlo Mancini | .... | special effects technician | |
| Adriano Pischiutta | .... | special effects supervisor | |
Stunts | |||
| Ottaviano Dell'Acqua | .... | stunts | |
| Sergio Mioni | .... | stunt coordinator | |
| Stefano Maria Mioni | .... | stunt double | |
| Angelo Ragusa | .... | stunts | |
Camera and Electrical Department | |||
| Eraldo Barbona | .... | grip | |
| Massimo Barbona | .... | grip | |
| Günther Bauer | .... | grip (as Günter Bauer) | |
| Vasco Benucci | .... | focus puller | |
| Franco Caporale | .... | electrician | |
| Bruno Colanzi | .... | grip | |
| Vittorio Contino | .... | generator operator | |
| Wolfgang Dell | .... | electrician | |
| Umberto Dessena | .... | grip | |
| Marco Di Salvo | .... | generator operator | |
| Alberto Emidi | .... | key grip | |
| Cesare Emidi | .... | grip | |
| Giovanni Fiore Coltellacci | .... | camera operator | |
| Aldo Galigani | .... | electrician | |
| Umberto Leurini | .... | generator operator | |
| Richard Lindl | .... | grip | |
| Romano Mancini | .... | supervising gaffer | |
| Giorgio Palermi | .... | electrician | |
| Piero Quaglietti | .... | electrician | |
| Antonio Scaramuzza | .... | second camera operator | |
| Marco Sperduti | .... | focus puller | |
| Guido Tosi | .... | focus puller | |
| Mario Tursi | .... | still photographer | |
| Robert Willoughby | .... | special still photographer (uncredited) | |
Casting Department | |||
| Mali Finn | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Angela Anzimani | .... | seamstress | |
| Silvia Grabowski | .... | wardrobe | |
| Adriana Masseroni | .... | wardrobe | |
| Carlo Poggioli | .... | wardrobe | |
| Kurt Schönwälder | .... | wardrobe (as Kurt Schoenwälder) | |
| Alberto Spiazzi | .... | wardrobe master | |
| Eveline Stösser | .... | wardrobe (as Eveline Stoesser) | |
| Esther Walz | .... | wardrobe coordinator | |
Editorial Department | |||
| Andreas Althoff | .... | second assistant editor | |
| Margarethe Berchtold | .... | negative cutter | |
| Rudolf Ibelher | .... | color grader | |
| Carlo La Bella | .... | color grader | |
| Loretta Mattioli | .... | editorial assistant: Italy | |
| Nani Schumann | .... | first assistant editor | |
Music Department | |||
| Robert Hathaway | .... | music editor (as Bob Hathaway) | |
| Kurt Reichmann | .... | historical music instruments | |
| Kurt Rieth | .... | choir master | |
| Harry Schnitzler | .... | music sound engineer | |
| Rainer Standke | .... | assistant music editor | |
| Ulrich Ullmann | .... | music mixer | |
| Ian Underwood | .... | synthesizer programmer | |
Transportation Department | |||
| Antonio Savini | .... | transportation captain: Italy | |
Other crew | |||
| Frans J. Afman | .... | financial services provided by | |
| Daniele Alexandre-Bidon | .... | contemporary manners advisor | |
| Laurence Duval Annaud | .... | assistant to director (as Laurence Duval-Annaud) | |
| Laurence Duval Annaud | .... | continuity coordinator (as Laurence Duval-Annaud) | |
| Padre Angelo Arpa | .... | religious advisor | |
| Jean-Yves Asselin | .... | location manager | |
| François Avril | .... | manuscript advisor | |
| Luise Beitz | .... | accountant | |
| Renate Berger | .... | post production secretary | |
| Stephan Beringer | .... | post production assistant (as Stefan Beringer) | |
| Jean-Claude Bonne | .... | architecture advisor | |
| Barbara Boudier | .... | production secretary | |
| John Brownjohn | .... | translator: English | |
| Fausto Capozzi | .... | supervising accountant | |
| Gian Carlo Ciotti | .... | supervising accountant (as Giancarlo Ciotti) | |
| Christopher Cruise | .... | dialogue director | |
| Christopher Cruise | .... | script advisor | |
| Père Desbonnet | .... | liturgy advisor | |
| Christopher Doherty | .... | dialogue consultant | |
| Daniella Edelburg | .... | assistant to producers (as Daniela Edelburg) | |
| Giovanna Emidi | .... | payroll | |
| Roy Everson | .... | stand-in: Mr. Connery | |
| Walter Fiordelmondo | .... | production assistant | |
| Birte Franzen | .... | bookkeeper | |
| Anna Gross | .... | production executive | |
| Margarete Kemeny | .... | pre-production secretary | |
| Jens Kostmann | .... | production assistant | |
| Michel Lebrun | .... | storyline consultant | |
| Jacques Le Goff | .... | supervising historical advisor | |
| Edwin Leicht | .... | financial controller | |
| Raoul Leindecker | .... | production assistant | |
| Lynda Levy | .... | publicity writer | |
| Manfred Mittelbach | .... | supervising auditor | |
| Aroldo Mogiani | .... | crowd manager | |
| Marianne Munichhausen | .... | assistant to producers | |
| Evelyn Nissimoff | .... | bookkeeper | |
| Roberto Passanisi | .... | production runner | |
| Michel Pastoureau | .... | heraldry advisor | |
| Françoise Perrot | .... | continuity | |
| Titti Pesaro | .... | production coordinator | |
| Carla Pettini | .... | production secretary | |
| Angelo Pieri | .... | cashier | |
| Manuela Pineskj | .... | production secretary (as Manuela Pineschi-Berger) | |
| Françoise Piponnier | .... | props advisor | |
| Roswitha Polosek | .... | production coordinator | |
| Fiammeta Profili | .... | production secretary (as Fiammetta Profili) | |
| Michael Scheingraber | .... | post production assistant | |
| Jean-Claude Schmitt | .... | comportment advisor | |
| Klaus Schühly | .... | publicity assistant | |
| Gianni Scuro | .... | production runner | |
| Rosetta Sestili | .... | liaison: Italian labor office | |
| Luciano Tartaglia | .... | accountant | |
| Roberto Todeschi | .... | production assistant | |
| Giorgio Tregnaghi | .... | controller: Italy | |
| Ian Underwood | .... | synthesizer programmer | |
| Doug Woelk | .... | post production assistant | |
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| Andrey Rublyov | Die Blechtrommel | The Holy Mountain | Novecento | Que la fête commence... |
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A number of people have commented on the similarity of this film, and the Novel by Umberto Eco, to the DaVinci Code. For those who were not born then, The Name of the Rose was published in 1980, thus predating DaVinci by about 20 or more years. I must admit that I found DaVinci to be a mass market popularization of Eco's theme, in short a "rip off". Still, it may be the popularity of Brown's novel which has resulted in Name of the Rose being brought back in a DVD version, and for that I am truly thankful.
For a film which was not favorably reviewed by the critics, it is surprising how many reviewers 20 years later are giving it a 10. Either the film wore well or tastes have changed. I loved the film first time around and was delighted to find it on DVD. Certainly the screenplay had to deviate from the philosophizing of the book. It would have been almost unwatchably "talkie" had it not, and those of us who want to read the sermons/discussions can read the book. The film stands on it's own.
The most ominous feeling for me, living in the religious and politically free thinking 21st century, was the realization that the church had such a grip on every aspect of life and thinking in the middle ages, and that any perceived repudiation of accepted Church dogma was deemed heresy and punishable by torture and a horrible death. That one group of people should wield such power, and the length they would go to to hold on to that power is truly frightening. The rigid class structure where the nobility and church owned the land which the peasants worked, and supported those above them while being kept down by those above, was very well conveyed in the film. Life was short and hard, health was poor and the plague could return at any time, carrying off those who had not been carried off by the incessant wars. Not a pleasant age to live. The period of the film is set just prior to the reformation. It is hardly surprising that the teachings of the various religious orders began to be questioned.