If you’re wondering why a 21 year-old movie is getting reviewed here, then you obviously haven’t watched “The Name of the Rose.” Here at FYI we wanted to try something new; so instead of requesting some tickets to an advance screening, we grabbed an obscure film from the video store, watched it, and will now let you know if you’ve been missing out all these years.

In the remote mountains of Italy stands the Benedictine Abbey, which is now besieged by fear. One of the youngest monks, a scribe known for his comic interpretations of scriptures, has been found dead at the bottom of the cliff that the Abbey overlooks. There are no witnesses.

Did he commit suicide? If so, why, and why is the only window he could have thrown himself from bolted shut – from the inside?

Enter William of Baskerville (Sean Connery), a revered monk known for his quick mind and sharp eye. Called in by the Abbot to handle this matter without involving outside forces, he brings with him his new novice, Adso of Melk (Christian Slater). While William tries to find a logical explanation for this untimely death, the monks of the Abbey become restless, as they play host to the council of the Franciscan’s Order, brought in to determine the necessity of wealth in the Catholic faith.

Desperate to solve the mystery before the Abbey collapses from the inside out, William must struggle with his guilty past and Melk’s lustful ways before the answers can reveal themselves. As the body count rises, he must find the killer or the Abbot will have no choice but to call in the most dangerous man of the Holy Inquisitors, Bernardo Gui (F. Murray Abraham). And Bernardo knows William, very well.

Heralded as one of the greatest unsung films of the ’80s, this murder mystery is close to brilliance. Despite the fact that the film itself made less than $6 million at the U.S. box office, it contains great cinematic importance: It showcases the debut of Christian Slater, and far more importantly, the finest performance in Connery’s career (earning him a Best Actor award at the British Academy of Film and Television Arts).

As the intellectually driven William of Baskerville, we follow his quest to find reason in chaos. As he is consumed by his need to stop the deaths, William casts aside everything else, which could end in his own undoing, or the undoing of others. Further, Connery is magnificent as William, holding such wisdom and presence on scene that you are drawn to him as a shining light of what is good in the world.

Like Sherlock Holmes, or Hercule Poirot before him, William is flawless in his understanding of his surroundings, able to deduce reason and motive from the most obscure events. Under Connery these talents break to new life, and at no point do you question his brilliance.

Similar in style to “Gosford Park,” this movie becomes far more than a simple murder mystery. On the surface you believe the true importance of this film lies in the identity of the killer, but that is not so. This is a film about the destruction of beauty, and the extent that men will go to make sure the world as we know it remains unchanged. To them, the loss of their way of life is so sinful, they would rather embrace their own destruction than live a second without it. You cannot change a man’s heart when it is driven by idealism, your only option is to stop him outright. And when these opposing forces collide, the true chaos within the Abbey unfolds.

In comes F. Murray Abraham. Surely one of cinema’s nastiest villains, he is utterly terrifying as the all-powerful Bernardo Gui, who believes in justice so much that he will sacrifice the world to fulfill his duty. His is a flawless performance. This, of course, is aided by the atmospheric directing of Jean-Jacques Annaud. Most famous for his films “Enemy At the Gates” and “Seven Years In Tibet,” Annaud captures the reclusive and oppressive atmosphere of the Abbey while highlighting the importance of sunrise – a new day, and new hope.

Ultimately, it’s everything you could want in a murder mystery: The gothic setting, uncooperative community, secret passages, troublesome characters, and a truth that is so hidden its unearthing brings much unwanted baggage. Plus, there’s the book. The enigmatic book in Greek scripture, a book that kills and that people kill to keep hidden. Although the pacing begins slow, once the bodies start racking up, you become utterly enraptured in this story. Don’t let this movie remain obscure forever, it is simply too good to be forgotten. This is morbid medieval murder mystery at it’s best, and you must see it.

Overall: A wonderful movie, that is worth every second. An intellectual mystery of faith, and truth, driven hard by a pitch perfect performance by Connery. Strongly aided by a great script, powerful directing, and a chilling turn by Abraham, as the embodiment of evil, Bernardo Gui.

Ellis J. Wells is a senior in performing arts from Portishead, England.

FYI Rating: Four Stars

Oscar nomination chances: —

See it: Rent it from Family Video, Hollywood Video or Hastings

Rated R: Violence, nudity and sexual content.

Running Time: 131 min.