THE NAME OF THE ROSE (1986) Movie Poster, Vintage Original Daybill
Size AU Daybill Post 80's (33 x 66 cm)
THE NAME OF THE ROSE (1986) Vintage Original Daybill Movie Poster, Starring Sean Connery, F Murray Abraham, Christian Slater, Directed by Jean-Jacques Annaud is in Very Fine+ Condition. Movie Poster...
THE NAME OF THE ROSE (1986) Vintage Original Daybill Movie Poster, Starring Sean Connery, F Murray Abraham, Christian Slater, Directed by Jean-Jacques Annaud is in Very Fine+ Condition.
Movie Poster and Condition.
Condition: This Original Daybill, Movie Poster is presented in Very Fine+ condition, 2 Daybill folds as issued, a little handling wear, otherwise this poster presents in excellent condition with a colourful clean presentation.
This original vintage Australian daybill movie poster advertises The Name of the Rose (1986), the acclaimed historical mystery starring Sean Connery. With its colourful, clean presentation and authentic period appeal, this original theatrical poster is an excellent addition to collections of 1980s movie posters, classic cinema memorabilia, historical films and Sean Connery collectibles. The Australian daybill format offers a distinctive piece of vintage film advertising for collectors who appreciate intelligent mysteries, medieval history and atmospheric cinema.
Movie Synopsis
The Name of the Rose (1986) is a historical mystery film directed by Jean-Jacques Annaud, adapted from the bestselling 1980 novel by Italian author Umberto Eco. Set in a remote Benedictine monastery in northern Italy in 1327, the film combines murder mystery, religious intrigue, medieval scholarship and political conflict. Its richly detailed setting and complex investigation create an atmospheric thriller in which knowledge can be dangerous and appearances are rarely what they seem.
Sean Connery stars as William of Baskerville, a Franciscan friar and former inquisitor renowned for his sharp intellect, powers of observation and unconventional approach to solving problems. Travelling with his young novice, Adso of Melk, played by Christian Slater, William arrives at a secluded monastery to participate in a theological debate between representatives of different Christian factions. Their visit takes an unexpected turn when a monk is found dead under mysterious circumstances.
William begins investigating the death, applying logic, careful observation and a method resembling the work of a modern detective. His reasoning unsettles some of the monastery's inhabitants, whose explanations are shaped by superstition, religious beliefs and fear. When further deaths occur, the monastery becomes increasingly tense. The victims appear connected by circumstances that are difficult to explain, and William suspects that the answers may lie within the institution's vast and closely guarded library.
The library is one of the monastery's most important and mysterious features. A labyrinth of corridors, hidden rooms and restricted passages protects a collection of ancient manuscripts, making access difficult even for the monks who live there. William's investigation gradually reveals that certain books are considered dangerous because of the ideas they contain. The struggle over knowledge becomes central to the mystery, raising questions about censorship, intellectual freedom and the power of those who control information.
Meanwhile, Adso experiences the emotional confusion of youth when he encounters a poor young woman, played by Valentina Vargas. Their meeting introduces a more personal dimension to the story, contrasting the rigid religious world of the monastery with the human desires and vulnerabilities of those living beyond its walls. Adso must reconcile his growing understanding of the world with the strict expectations of his religious education.
The investigation becomes more dangerous with the arrival of Bernard Gui, played by F. Murray Abraham, a formidable inquisitor determined to identify and punish those he believes responsible for heresy. His methods contrast sharply with William's reliance on evidence and rational deduction. As suspicion spreads, the distinction between justice and persecution becomes increasingly blurred. Innocent people may suffer when authority places ideology above facts, and William must work quickly to uncover the truth before fear and fanaticism determine the outcome.
Directed by Jean-Jacques Annaud, the production is renowned for its atmospheric recreation of medieval life. Rather than relying on an idealised vision of the Middle Ages, the film presents a harsh environment marked by cold stone buildings, limited lighting, disease, poverty and intense religious devotion. The monastery's imposing architecture, shadowy interiors and labyrinthine library contribute significantly to the suspense, making the setting almost a character in its own right.
Umberto Eco's original novel is celebrated for its combination of detective fiction, philosophy, semiotics and medieval history. The film adapts these ideas into a visually compelling mystery while retaining the central conflict between reason and dogma. Sean Connery's performance received particular acclaim, earning him the BAFTA Award for Best Actor in a Leading Role. His portrayal of William combines dry humour, intellectual confidence and compassion, while Christian Slater provides a compelling perspective through the eyes of an inexperienced young observer.
The Name of the Rose remains a distinctive example of 1980s historical cinema, appealing to audiences interested in murder mysteries, medieval monasteries and thought-provoking stories. This original 1986 movie poster celebrates the film's enduring reputation and offers collectors a genuine piece of vintage Australian cinema advertising, particularly suited to collections featuring Sean Connery, classic literary adaptations and historical thriller movie posters.
To find out more about The Name of the Rose (1986) click here to go to IMDB.com.
Special Notes.
Images may have a small 'MPA' digital watermark and this does not appear on the poster. Posters are being held by magnets in the corners to take photographs, so you may see some magnet and shadows from the magnets in these areas. The magnets are not included in the sale of the item.
Postage, Insurance & Your Country Taxes
Postage costs are quoted for this item, include insurance up to AUD$100, but if you reside outside of Australia, the price does not include any import taxes/fees that you may be required to pay when the item reaches your borders. Please check with your local authorities for any additional taxes or fees. If you would like full insurance coverage for your purchase, please message me and I would be happy to quote the additional cost (estimate is AUD$2.50 p/AUD$100 or 2.5% of the item value, up to a maximum item value of AUD$5,000).
FAQ
At Movie Posters Australia, the love and conservation of movie posters comes first, and we like to share this passion. Our commitment to quality means we will provide high quality memorabilia to our customers. Posters are carefully chosen and authenticated to ensure originality and value. We want our customers to trust MPA, so we always try to be as open and transparent as we can, provide detailed condition information and images, to ensure customers are comfortable and confident in their purchase.
While the industry does have a few condition rating standards, there is no movie poster condition rating system that has become the accepted standard world wide. This unfortunately makes condition terms vary from movie poster dealer to movie poster dealer. Terms like Mint, Near Mint, Very Fine, Fine, Very Good, Good, Fair, Poor, seem to be universal to most condition rating standards, but most standards still lack definition about what and how many flaws/defects/damage defines a specific condition level. For more information on how Movie Posters Australia grades the condition of its movie posters, daybills, lobby cards and other ephemera please see out Movie Poster Condition and Grading page.
In the early days of cinema, posters were primarily hand-drawn and printed in various sizes, often tailored to fit the available space in theaters or promotional areas. In the United States, the "One Sheet" size (some times called '1 Sheet' or '1SH' approximately 27" x 41", became the standard during the 1930s. This size was manageable for theater display and suited the needs of a growing film industry.
Different countries developed their own poster sizes and styles, which also changed sometimes over the decades, and were influenced by local preferences and practical considerations, like available paper sheet sizes and how many posters could be printed on one sheet.
In Australia, the most popular size, the Daybill, has evolved over the decades. Australian Daybills sizes in chronological order are:
- Long Daybills (15" x 40"), from 1920's to pre-WW2 or pre-1941, were printed two to a sheet, longer than current Daybill versions. There were size variances in width from 14.5" to 15" and in height from 39.5" to 40".
- War Time Daybill (10" x 30"), during WW2, for a short time to conserve paper during a war time shortage, four Daybills were printed on one sheet. Information from Press Sheets also referred to these War-Time sizes as "New Size Daybills".
- Post-War Daybill (13" x 30"), this 13" x 30" Post-War size carried through until the 1980's, but also varied in size from 13"-14" x 29.75"-30.25".
- Post-80's Daybill (33cm x 66cm, or 13" x 26"), over a few years in the late 80's, the size changed again to a metric 33cm x 66cm, although these have also varied from 32-33cm x 64.5-66cm. New sizes from the late 80's were created, sometimes called a Mini Daybill or Mini Poster, in 9" x 12", 11" x 17" and 13" x 20".
In the UK, the somewhat unique 'Quad' poster, measuring 30" x 40", became popular, offering a larger landscape format that allowed for more elaborate designs.
In Japan, movie poster sizes were smaller, such as the "B2" (20" x 28"), which suited the more compact living environment of larger cities, smaller advertising spaces, and unique aesthetic sensibilities.
The 1970s and 1980s, witnessed the rise of the "six-sheet" (81" x 81") format, reflecting a trend towards larger and more visually impactful advertising.
Overall, the variation in movie poster sizes across different countries and decades highlights the interplay between technological printing advancements, paper resource availability, paper sheet size changes, cultural preferences, and the evolving nature of movie marketing.
At Movie Posters Australia we tag each poster we sell with a 'size' and 'condition' description at the very top of the page for our customers to easily see. There may however be some slight variations to sizes by up one inch due to variations in production and guillotine methods by printers over the decades.