Thirty-eight years after its cinema release, The Name of the Rose by Jean-Jacques Annaud, adapted from the masterpiece of the same name by Umberto Eco, is once again in the news in the year 2024. It was re-released in French theaters in a restored version, attracting more than 31,200 spectators who are added to the nearly five million who came for the first outing. A restored version also available on May 3 in a Blu-ray box set finally worthy of the name.
franceinfo: We imagine that it moved you to see your film again in an “improved” version?
Jean-Jacques Annaud: In fact I was very upset that for ten years the film could no longer be seen anywhere: the rights had not been renewed, an heiress did not want the film to be released. And I was offered a series adaptation that I didn’t want to do, because it would have been difficult to move on after such an adventure. But I was unhappy, because my other films continue, thank God, to be shown again and again on television all over the world, but not this film which I particularly enjoyed making, and which was very difficult to edit, for which I had been asked to Elsewhere predicts a resounding failure.
I owe this release to Umberto Eco’s partner, Renate, with whom I remained friends, but also to her son, who was one of my interns on the set of the film, combined with the dynamism of TF1 éditions. And I rediscovered my film on the Main Square of Bologna, outdoors, with 4,500 people. And I must say that I was particularly surprised to find the image that I had in my head during filming, but never seen on a screen. The restoration is fantastic and the image is of exceptional quality.
One of the qualities of the film, and what made it modern, was to mix genres: historical and religious costume film, thriller, “buddy movie”, with also a hint of comedy. Were you aware of this while doing it?
Yes, I love it, the mix of genres, especially since I’m passionate about music. And in classical music for example, after a slow movement, you need a fast movement, and so on. It’s the same with cinema, after a tragic or dangerous scene, you need lightness, to take the audience from laughter to tears. Some filmmakers don’t dare, but in three minutes you can swing a movie theater in one direction or the other, in fact. Sometimes people who discover my scenarios tell me: “Are you sure there for the comic scene in the middle of the tragedy?” But I love it, even when I’m editing: I like changing tone, not to mention changing the film.
Your cast is rich, international and multilingual: Sean Connery, Christian Slater, F. Murray Abraham, Michael Lonsdale, Ron Perlman, Valentina Vargas and so on. Lots of “characters”. On screen it’s extremely fluid, but we imagine that on set it was a different matter?
No. Actors like to be confronted with different things, and one of the charms of filming was seeing young Christian Slater, who had done nothing before, facing a huge professional [Sean Connery] and experienced actors. And the German actors were delighted to play with Italians, etc. It’s like a cook who tries out a recipe by mixing lots of different ingredients. The beginners bring an extraordinary freshness, whereas if you only put pros together, it becomes a kind of routine. Now, Slater was almost in love with the great actor Connery, who had already made 70 films. And that lifts everyone up.
I believe you said that working with F. Murray Abraham [Scarface, Amadeus, entre autres] was complicated…
Oh yes, he was a terrible bastard.
(Laughs) So that’s said, you confirm it. But Sean Connery then? We read a bit of everything and anything by finding your interviews online, which shows it wasn’t easy.
This is totally false. I insist, it was a delight. But there was indeed the now famous so-called “socks” episode. It was I think the second day of filming, I was at the top of the tower that I had built expressly for the film, and I see blue things under his monk’s robe, so I go down, I find Sean on the path, and I ask him what it is, he replies: “Your costume designer knitted them for me.”. And I tell him: “But the Franciscans don’t have socks”, he answers me that this Franciscan, yes.
I then explain to him that his character has himself taken a vow of poverty, so he walks barefoot, possibly with sandals, but of untanned skin. He takes it badly, he takes off his socks, throws them on the ground, saying: “I hate these fucking monks”. This is the first time where there was a small gesture of anger, from my side.
“Working with him was like driving a Rolls: everything was easy, he knew his lines and knew his movements by heart, he has a superb voice and said his lines with incredible elegance. It was a dream and one of the most beautiful directions actor I’ve ever had, and we stayed in touch for a long time.”
Jean-Jacques Annaud on Sean Conneryat franceinfo
And in your now very extensive filmography, how would you classify it, The Name of the Rose ? Is it one of your favorites or have the production difficulties left you with a bit of a bitter taste?
No, I have no bitterness, I was able to work with immense freedom. For example, I loved shooting in built sets, as I was able to do a few years later for my film Stalingrad. On the other hand, I rarely look in the rearview mirror, the only film that interests me is the next one. And I rarely watch my films again, I do it especially when I have to comment on the DVD bonuses. But I remain very attached to Name of the Rose. What I loved above all was collaborating with Umberto Eco. He was of such intelligence, such humor, such richness of thought, that it will remain an unforgettable memory.