Agnès Frédéric Noaille as Lorenzo Javivi as Frère Andrés Differences between the Book and Film Structure and Character Focus The book’s focus is more scattered as readers are introduced to multiple characters facing barriers to their happiness set up by the Catholic institution of Spain, while the film moves away from this broad cast of characters to focus solely on Ambrosio’s storyline. The characters that remain in this film adaptation are directly related to him. Valerio (Rosario/Matilda) Valerio is the only name given to the female temptress that sneaks into the monastery to get close to Ambrosio. In the novel, the woman is named Matilda and she uses the name Rosario when she is masquerading as a novice. In the film, she wears a mask that is never described in the book, perhaps partly to make it more realistic that she could hide in the monastery. The blank open-mouthed mask makes the character more sinister initially and foreshadows her nefarious intentions. Valerio is also never explicitly called a demon temptress sent by Satan like in the novel, where the Devil claims her as his design. In the film, Valerio sexually assaults Ambrosio, which is not in the novel. In the novel, his first sexual experience is of his own free will and fully conscious, even though he is disturbed and heavily influenced by Matilda’s reasoning. In the film’s scene where she is sucking out the poison from his hand, there is also a montage of sexual intercourse between the two, but Ambrosio is ill and mostly unconscious. He also later questions her about what happened, further demonstrating that he did not consent or know what was happening, whereas he does not have this sexual trauma in the novel. Antonia’s fate In the film, she is not explicitly raped, instead she is influenced with a sprig of myrtle that is supernaturally enhanced, resulting in intercourse. In the novel, Ambrosio later drugs Antonia and takes her to a crypt where he rapes her and then murders her as she is escaping. This is fully cut from the film. She is not killed at Ambrosio's hand, but instead goes mad, which is not even shown but told to Ambrosio (and the audience) by the Devil. Ambrosio bargains for Antonia’s soul at the end of the movie, whereas he was only concerned with himself in the novel, especially by the end when he is