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When the Italian master of the Ninth Art revisits the masterpiece of Umberto Eco.
In 1327, in a Benedictine abbey in northern Italy, several monks were found dead. To put an end to these worrisome disappearances before the arrival of a large delegation of the Church, brother Guillaume de Baskerville tries to lift the veil on this mystery that stirs up all superstitions. Assisted by his young secretary Adso de Melk, he gradually uncovered the secret troubles of the congregation, and came up against the firm ban on approaching the library of the building. Yet Baskerville is convinced of this, something is going about between its walls. And soon, at the request of the Pope, the inquisitor Bernardo Gui in turn went to the monastery and interfered in the investigation. The dead accumulate and faith is of no help...
Event. Milo Manara set out to adapt in two volumes of Umberto Eco's masterpiece, which sold several million copies and translated into 43 languages. After Jean-Jacques Annaud in cinema (1986), it is a new prestigious artist who takes over the famous medieval thriller. At the request of the heirs Eco, Manara had carte blanche to give his vision of the work, and for this he chose a very bold triple graphic bias. Its adaptation opens on Umberto Eco itself, designed in a classic black and white. Then begins the medieval plot itself, and there Manara reconnects with black and white to wash, with effects of materials and patterns that he has already used for Caravaggio. Finally, everyone knows that books play a fundamental role in the plot, and Manara therefore enjoys from time to time to recreate period illuminations, made in the manner of medieval copyist monks. The whole is colored by Manara's own daughter under the supervision of her father, here also according to the same method that led to the realization of Caravaggio.