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5824
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dbpedia
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1
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https://www.metacritic.com/movie/hannibal/details/
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en
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Hannibal details
|
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2001-02-09T00:00:00+00:00
|
Hannibal continues the story begun in "The Silence of the Lambs." Ten years have passed since Dr. Hannibal Lecter (Hopkins) escaped from custody, ten years since FBI Agent Clarice Starling (Moore) interviewed him in a maximum-security hospital for the criminally insane. The doctor is now at large in Italy, gloriously at liberty in an unguarded world. But Starling has never forgotten her encounters with Dr. Lecter -- his cold voice still haunts her dreams. (Universal Pictures)
|
en
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https://www.metacritic.com/movie/hannibal/details/
|
Description: Hannibal continues the story begun in "The Silence of the Lambs." Ten years have passed since Dr. Hannibal Lecter (Hopkins) escaped from custody, ten years since FBI Agent Clarice Starling (Moore) interviewed him in a maximum-security hospital for the criminally insane. The doctor is now at large in Italy, gloriously at liberty in an unguarded world. But Starling has never forgotten her encounters with Dr. Lecter -- his cold voice still haunts her dreams. (Universal Pictures)
Movie title data and credits provided by
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5824
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dbpedia
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3
| 88
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https://www.thescriptdepartment.net/post/hannibal-more-important-than-silence-of-the-lambs
|
en
|
Hannibal: More Important than Silence of the Lambs
|
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"John Finnegan"
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2018-09-25T17:22:36+00:00
|
I recently wrote a post arguing how Alien 3, one of the least popular Alien films, is actually the most significant entry as far as progressing the main character of the franchise is concerned. It got me thinking of other examples where less popular or less successful entries into movie franchises can actually be very important, or in some instances, the most important chapter when it comes to discussing or understanding the characters.For this post, I'll be concentrating on Hannibal, the 2001 s
|
en
|
The Script Dept.
|
https://www.thescriptdepartment.net/post/hannibal-more-important-than-silence-of-the-lambs
|
I recently wrote a post arguing how Alien 3, one of the least popular Alien films, is actually the most significant entry as far as progressing the main character of the franchise is concerned. It got me thinking of other examples where less popular or less successful entries into movie franchises can actually be very important, or in some instances, the most important chapter when it comes to discussing or understanding the characters.
For this post, I'll be concentrating on Hannibal, the 2001 sequel to Silence of the Lambs. Hannibal puts a lot more focus on the titular character of Hannibal Lecter than in other films but it still never loses focus of Clarice Starling either. It follows Hannibal as he hides out in Florence, before realising he has been discovered by a corrupt Inspector Di Pazzi. This leads to Clarice Starling, who by now has been ousted from the FBI for, frankly being too good at her job, to pick up the trail of Hannibal and try and bring him in. It is a gripping game of cat and mouse and both characters are challenged in incredibly interesting ways.
The response to Hannibal was lukewarm, but I will argue here that this is the film that elevates the characters of Starling and Lecter to the revered heights that we hold them to now.
Hannibal takes on a very different form than its previous entries in the series. Red Dragon and Silence of the Lambshad a paint by numbers approach to their investigation. They were certainly gripping and thrilling, but they were not unfamiliar to audiences. Hannibal, on the other hand, featured a very different structure and showcased the characters in a different light that was unexpected. This emphasis on the two characters, and not on a different serial killer that they were trying to pursue, meant that it did more for the mythology of these beloved characters than Dragon and Silence.
Let's look at the character of Clarice Starling in Silence of the Lambs. Clarice is a rookie, following the orders of her superiors and learns to overcome the death of her father in her 'therapy' sessions with Hannibal Lector. It is her quick thinking and ingenuity that leads her to Buffalo Bill. In Silence, Clarice is a sheltered character, protected by her superiors, by a wall of glass, separating her from Lecter and all the while following orders.
In Hannibal, Clarice doesn't have those safety nets. She is held fully accountable when things go wrong, even when they are not her fault. She is vilified and has her integrity thrown into question. Despite the fact that she is a seasoned veteran of the Bureau, she is truly challenged, more so than before.
It goes without saying that Hannibal is where we see the character of Lector truly shine. We see him living his day to day life in Florence, we see how he hunts and preys on unsuspecting people. He is methodical and cunning and takes risks by reaching out to Clarice, despite knowing that it could get him caught. We learn more about who he is as a human being than in any other film. For this reason alone, it is an important film.
Clarice might have hit a turning point in her personal life when she opened up about her father in Silence of the Lambs. However, it is the resolution of their therapy sessions at the end of Hannibal that gives us our greatest insight into Clarice. Hannibal is handcuffed to Clarice. Even though his freedom is at risk, Hannibal cannot help but show his admiration for Clarice. He says:
"My freedom, just that. You'd take that from me. And if you did, would they have you back, do you think? The FBI? Those people you despise almost as much as they despise you? Will they give you a medal, Clarice, do you think? Would you have it professionally framed and hang it on your wall to look at and remind you of your courage and incorruptibility? All you would need for that, Clarice, is a mirror."Clarice is incorruptible. She is the perfect agent and his match. Sometimes it takes another character to highlight this before we notice. It is hard not to notice by the end of this film.
Film buffs love to hail Hannibal and Clarice as such well rounded and well written characters but the evidence, like Ellen Ripley in Alien 3, comes from Hannibal, a film that many people tend to ignore when discussing these characters. It has become too easy to lean on quotes and memes from Silence of the Lambs when discussing these characters, but I would prefer to lean on Hannibal to see these characters at their best.
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5824
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https://desistfilm.com/gods-left-index-finger-on-jonathan-demmes-the-silence-of-the-lambs/
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en
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GOD’S LEFT INDEX FINGER: ON JONATHAN DEMME’S “THE SILENCE OF THE LAMBS” – desistfilm
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By Victor Bruno
Over the last few months—starting with the release of Ricki and the Flash (2015) on home video—I developed an interest in Jonathan Demme’s cinema. As I watched his films, I developed a few ideas and scratched some notes on them about his ideas, interests and general style. That, by coincidence, happened to coincide with shifts on ideas of my own. Some of these notes were abbreviated and became my entry on MUBI’s Notebook fantasy double-feature pool.
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en
|
https://desistfilm.com/gods-left-index-finger-on-jonathan-demmes-the-silence-of-the-lambs/
|
By Victor Bruno
1.A Mistake to Be Corrected
Over the last few months—starting with the release of Ricki and the Flash (2015) on home video—I developed an interest in Jonathan Demme’s cinema. As I watched his films, I developed a few ideas and scratched some notes on them about his ideas, interests and general style. That, by coincidence, happened to coincide with shifts on ideas of my own. Some of these notes were abbreviated and became my entry on MUBI’s Notebook fantasy double-feature pool.[1]
It happens that in my contribution to that pool I may have made a mistake. I called Demme “a brilliant director,” an assertion that is potentially incorrect. Demme’s reputation, although some of his early efforts such as Citizens Band (1977) and the Roger Corman-produced films are championed in the independent circuit, basically relies on the results of two films: one being is one of the films reviewed on my MUBI entry about Something Wild (1986). The other one, of course, is The Silence of the Lambs (1991).
Demme made other interesting movies after Lambs. He made another great movie, Philadelphia (1993), unfortunately remembered only for being a film made on the early years of AIDS, though it is much more complex than that. The Manchurian Candidate (2004), also, while being not much than a trivia in his filmography, is also an interesting artifact of plain experimentalism. There Demme reaches the highest point of his person-to-camera aesthetics with scenes that last more than four minutes and are entirely enacted for the camera. While being a narrative failure, that picture should be well-regarded for its peremptory nature. Which director, besides Ang Lee with his Shakespearian Hulk (2003), was given $100 million to make an art film?
But The Silence of the Lambs is his greatest legacy. It haunts his work just as The Killing Fields (1984) and The Mission (1986) haunts Roland Joffé’s life. Demme never suffered as Joffé did, hitting the bottom of the well with the exploitation film Captivity (2007); Demme is versatile, he can transition from documentary to fiction with ease. Actually, being a politically engaged individual, I tend to believe that he is better at documentaries because of the very nature of this kind of film: as opposed with fiction, which is addressed to a universal watcher and can only reproduce a few separated events tied together around a synthetically produced plot, documentaries are enacted for the camera, although that we have as a result of this enacting process is an intellectually shifted presentation and interpretation from reality as it is… Besides, narrative is not so much of an issue in documentary filmmaking: it is known from the onset, since we are dealing with life as it appears to be (again, life can never be represented as it is in any artistic production).
But if you closely observe the considerations made above you will notice that we are still in the stage of notes and ponderations about a filmmaker and together they aren’t enough to write a full article on him—there are a lot of considerations, reconsiderations and unsolved issues. In short, we are on uncertain ground; it lacks a unifying subject which will mark out the tone and the unrolling of the text. Although I can certainly write a piece called “Jonathan Demme: Uncertain Filmmaker,” the tone of the article would be as uncertain as its subject.
But gladly Demme directed The Silence of the Lambs, which is a magnificent film and gives us plenty of room to ruminate on his cinema. It is the beginning and the end of his career. The beginning because nothing on his previous films—generally light-weighted comedies with stylish swoosh and a few experiments, such as American Playhouse’s episode “Who Am I This Time?” (1982) or, more famously, the live concert Stop Making Sense (1984). Lambs has the experimental nature of “Who Am I,” the refined aesthetics of both Stop Making Sense and Citizens Band (something that proves that Demme is an aesthete: both films weren’t shot by his usual director of photography, but by the late Jordan Cronenweth, but yet they are visually coherent) and it has the surprisingly wacky nature of Married to the Mob (1988). But The Silence of the Lambs has something that neither Stop Making Sense, or Citizens Band, nor Married to the Mob nor any of his previous films had: the first is a very cohesive narrative development, something that will explode on the disturbing last act of the film and will justify the nerve-wrecking sequence of Buffalo Bill’s death. The second thing—and this is way more important—that non other of his previous films has is the touch of Grace.
* * *
In his filmography, Demme was never worried with the narrative structure of his films. Perhaps an exception can be made to Something Wild, since the movie was born with a famous shift of tone in mind. Actually, you expect it to happen, since the picture seems to lead us nowhere. But this result is common in the independent world from where Jonathan Demme comes from. The Silence of the Lambs, however detached from the big studios, was nourished with the intention of being a box office hit, so the film plays safe with its structure.
But what really matters here is the element of Grace. And what does it mean? A miracle? Perhaps, but then we would have to understand the nature of a miracle, what would take us time and, frankly, I don’t believe that this is the best place to make a theological discussion. We can name as Grace here the incredible convergence dissonant factors that, together, surprisingly work in perfect harmony: we have a comedy director working in an alien genre to him (the thriller) and a film starred by a cannibalistic psychopath helping an FBI trainee who is chasing a homosexual serial killer.
2. Images of America
Perhaps the first thing we can notice in The Silence of the Lambs is that it is embedded in a deeply American atmosphere. What I mean by American atmosphere is not patriotism, nor the conservation of “American values” (although it has some that, something very interesting for a left-wing filmmaker such as Jonathan Demme). It is something more subterranean, appearing to be on the outside of the screen while actually being under its surface. That America was born and is fascinated with violence is a well-known fact. But what kind of violence is that that attracts America? Many can say that it is senseless violence and will draw facts about homicide by fire-guns, American interventionism on Third World countries and perhaps will “remind” that 9/11 was the result of American interventions on Afghanistan and Iraq that ultimately was reversed back to the United States (maybe using Charlie Wilson’s War [2007] as an argument, as if it were one). It doesn’t matter, I’m not talking about politics here. I’m talking about something else. America has a very intimate relation with the nature of the individual and to the surroundings of this individual. The fact that Lambs open the woods somewhere “near Quantico, VA” has weight. Virginia, as does the entire interior of Northeastern region of the United States, has a mysterious temperate climate, with impenetrable woods and a diffuse light that kind of dictates the mood of its atmosphere and of its people. This is not to say that these woods are haunted. But they are haunting. Wasn’t it in these woods, those impenetrable woods, filled with mist and fog, with a seemingly perpetual autumnal weather, that M. Night Shyamalan created his masterpiece about human isolation and spiritual death called The Village (2004), a film that finally is getting its deserved attention? For what constitutes a culture isn’t the literature, the capability of creating books, paintings, poems or statues—the sacred signs of a people intellectual people. These are the final results of a real culture, which is a constitution crusted on the soil of its native land, developing and boiling on the mentality of the shepherd, the carpenter, the working lady and the hunter who walks through those words, finally flowering and culminating in the imaginative work, in the dialectics between reality and its interpretation, on the mind of the artist.[3] There can be no culture if the people don’t know where they inhabit and what kind of environment is surrounding them. This is true in the woods near Quantico, VA, in the desert of California, in the bog of Allen, Ireland, and in the floating world of Japan, as different as these cultures can get.
Jonathan Demme may not be the brilliant filmmaker I said he was in the Writers Pool of Notebook, but he is an American filmmaker, concerned with the characteristics and the elements of the American nature. Part of the success of Something Wild lies on his sensibility of captivating the essence of the places where we go through the film, and this is clearly something he consciously tried to develop during the first third of his career (Citizens Band is nothing else than an exercise on Americana’s aesthetics). The so-called “humanism” of his filmmaking is nothing but the sense of wonder of shooting the landscapes, highways, shotgun houses and the individual particles that form the United States. And without a director who can record the inner tensions of this complex country probably there wouldn’t be a Silence of the Lambs. How could it be if the picture is the interpolation of the coldness of the atmosphere in the weather and in the interior of the minds and souls of the protagonists? One may say that the film is marvelous thanks to the volleys of Demme’s direction, in particular the grandiosity of the scenes with Hannibal Lecter, and the unforgettable appearance of the “hockey mask” that protects him from biting on people in the airport scene. But Demme’s visual antics are the inner warmth in an otherwise cold film. They are the welcome contrast, perhaps the relief (but maybe the reminder) from a psychotic world. No: the true greatness of this film lies in the unison that is formed by the interior and exterior world. The exterior world is the type; the interior, the subterranean, is the antitype: Buffalo Bill lives in a rundown house in the suburbs. Buffalo Bill is a broken spirit; he is confused, angry. Hannibal Lecter lives inside a Plexiglas cell, immaculately clean, and so his manners, rhythm of speak and intelligence. But nevertheless, he inhabits an asylum, where violence comes from within, and from within comes his violence, and to within him goes the flesh of his victims.
American society may be fascinated with violence, but this violence is a way to atone sin from within the environment. We can only identify American society if we understand that its mentality is clearly shaped by a clear division of good and evil—no matter if the “good” and “evil” elements are interchangeable. Evil sometimes assume the shape of good, and The Silence of the Lambs clearly depicts it by transforming Dr. Lecter in a sympathetic character, but never forgetting that Dr. Lecter is an incarnation of the Devil—a statement made by Anthony Hopkins in the 90s and more recently repeated by Mads Mikkelsen, Hannibal’s player in the homonym TV series. One may think that this assumption, or that of America’s mentality, is way too Manichean: Good and Evil, one may think, are relative and one is complimented by the other. While this is true that Good and Evil are coexisting forces on Earth, it is false to perceive them as complimentary forces, or as relative (there is nothing as hypocrite and false as saying “What is good for him may not be good for her”). Good is perfection, and Evil is an imbalance in this perfection. May be if one wants to break the auteur’s theory one could say that the strength of this picture comes not from Demme’s direction but by supplementary forces placed within the images of the film, lying just underneath the aesthetical façade. One of the problems that Cahiers du cinema brought with the auteur’s theory is that, as important and as good as it is (and I will not take the trouble of breaking it apart piece by piece right now) is that it is equally materialistic in some of its aspects, bringing everything to the visual world of a movie.
On the other hand, if someone else wanted to champion the theory, he could say that in the Silence of the Lambs these “meta-forces” I’m talking about are represented visually by Jonathan Demme.
3. The Everlasting Duel
The Silence of the Lambs may want to be perceived as realistic and gritty, but it is clearly inserted in the Biblical concept of Good against Evil. And here to capitalize the initials of these words is absolutely important, since Lecter is the Devil and acts through and according to diabolic principles. Clarice, on the other hand, is the epitome of the Holy Virgin, whose strength is born through passive suffering and waiting—that is, traumatic experiences, analogous to those that Mary experienced over the last 24 hours of the life of Christ. Modernity—secular, blind and deaf to spiritual teachings—relegated Mary to the status of an oppressed woman, framed in the stereotype of the frail and strengthless woman observing passively her male son be adored. This, of course, is to be oblivious the adoration Catholicism has to the Virgin; this is ignoring that actually Mary is a strong woman, merciful, who intercedes for humanity with her love.
But it isn’t just the Church who adores the Virgin. There is no greater believer in Mary, and in God, and in Jesus and in the Bible than the Devil. As C. S. Lewis showed in the Screwtape Letters, the Devil knows the Bible by heart. And the beauty of this film is to insert justly the diabolical workings of Evil in this very frame: Buffalo Bill and Hannibal Lecter don’t want only to corrupt the world into something bad; true evil is to corrupt the world into evil’s vision of what is good and beautiful, which is naturally twisted. Buffalo Bill doesn’t kill and skin his victims because he is not good, he wants to transcend his (in his view) unfitting body into something beautiful, complete and, above all, made by himself, and not by nature, which is something he cannot control.
But near Lecter, this is insignificant. Lecter, as the Devil, wants nothing but to make a 180º change to the order of the world. But inside his Plexiglas cell he can’t do anything of this sort. Better, inside the world itself he can’t do nothing. He has the power of violence, but violence is no real power. He can count only with his cleverness and malice to do something and to aim for glory, which appears in the film as elegance and finesse. This glory—the epitome of Good—appears to him exactly when Clarice Starling enters in his den, and from this moment on he starts to work for her.
There are two ways to way to look to Starling and Lecter’s relationship in this film. One is the way the critics has chosen to look, and unfortunately the way Thomas Harris chose to look, too, in the film’s continuation Hannibal (2001). This, perhaps, explain why Ridley Scott’s take on this story is so grueling bad. One way may perceive Lecter’s affection for Starling because (1) she’s a woman and he has not seen a woman for many years; (2) because she looks fragile and he can reign over her with his charm; and (3) there is some interior force in her that he can use for his wills. The apparently cabal argument that emphatically proves that there is a sexual “thing” going on between both characters is the famous touch of fingers between them, as a manner of Lecter, being strapped in that straightjacket physically touching her object of desire.
But this is a poor reading of the scene and of the dramatic universe of this film. Olavo de Carvalho in his study of The Silence of the Lambs correctly characterized a much-forgotten character, Crawford, as a version of The Tempest’s Prospero, “someone who manipulates the dark elements and, beating the odds, is able to bring everything to a happy ending with the victory of the good and of the light.”[4] Crawford is an all-knowing character: he knows Lecter from long ago, he knows his flaws and longings. He offers Lecter the sight of a woman and later makes an offer, through Starling, that he may be transferred to a more pleasant asylum. Crawford, in short, “makes the evil works for him,”[5] but only unknowingly—Lecter’s greatest flaw is not his inner evilness, but the sin of vanity. He must think he controls, somehow, Starling; he must think he is corrupting her.
But evil can never do that, because darkness at the end of the night is always hit by the light of the Sun. As I was saying, to interpret the touch of fingers between Starling and Dr. Lecter is a mistake because the Evil doesn’t desire to suppress, or to be united in any shape or form with Good. The Evil wants to be Good. Evil wants to invert the order of things, to change the meaning of words, of mentalities, of life as it is on Earth. But by the time Lecter touches Starling’s finger he knows very well what he did, he knew he was helping Starling to deter another devil, to stop ugliness on the streets of the country because he knew Starling was a much superior force than he thought. Again recurring to Carvalho’s study on the film, he asserts that this image may be a reference to Michelangelo’s The Creation of Adam, the famous fresco where we see God’s right hand index finger touching Adam’s left hand index finger (fig. 2&3). Dr. Lecter may not be a god, but at least he may have his moment as one[6] because at the end of the day all that is allowed to him is to adore Starling, his true master, and to paint her as an angel holding a lamb on her arms with three crosses at the background of the scene.
4. The Flow of the Water
As I said, The Silence of the Lamb is quite a miracle on Earth, bringing into work a director with little or no experience in the genre of thriller, an unknown playwright and two graceful players in tone. The problem with Jonathan Demme is that there wasn’t a film since that embraced his passions a filmmaker as organically as this film. There is a natural tendency in his films to look for the “abnormal” side of life, which is way more interesting, because this is the side that gives life this sense of wonder we sometimes feel when we are in a strange situation. At first, because Demme, as Sufjan Stevens would say, is in love with the place, he threw a soft light on his characters, as is the case with Citizens Band. So strong and so many are the prerogatives for the success of a Jonathan Demme picture that is truly a miracle that The Silence of the Lambs even got to be made: there must be an elastic nature in them, which may be explain why his documentaries are his best efforts, and the Silence has no place for elasticity. They appear to be experimental “performances films,” but if you watch them closely you will find that there is nothing experimental neither with Storefront Hitchcock (1998) or with Stop Making Sense, movies that are taken as experimental because of the lacking of a formal narrative and because of the hysterical nerve that runs from beginning to end in them dictated by the rhythm of the music. Stop Making Sense, perhaps on account of its title and of David Byrne’s frantic behavior on the stage that spills over on his bandmates, on the public and on the screen, more obviously than any other documentary is anchored in this concept of experimentalism: Talking Head’s post-urban paranoia is translated on the ever changing lightning of the stage, photographed with great method by Demme and Jordan Cronenweth (the greatest example being the stationary filming of “Once in a Lifetime,” a song that happens to be the best of the picture).
I believe there is no other way to capture life’s constant shifting actions if not with a certain amount of rigidity. In a famous interview with Werner Herzog from 2008, Jonathan Demme complains that although he has watched Aguirre: The Wrath of God (1972) time and again since its release he could never achieve in his cinema the same kind of magic Herzog achieved in the opening sequence of that film.[7] If we remember that opening scene, we will remind that we are dealing with a sequence of extended shots, often described as the march of little ants through a mountain.
What Demme doesn’t notice is that he is ignoring a great deal of his own filmic output. He may be right when he says that he never could achieve what Werner Herzog achieved in his fictional features—but who did? Demme, I believe, is truly a student of Herzog’s pictures. Not a brilliant one, sure, but a faithful one: both filmmakers use music as a preponderant part of the dramatic and narrative constructions of their pictures. Trouble is—and a say it knowing that I may am being arbitrary—Herzog knows what music represents in the dramatic building of a film. Demme doesn’t. For the better part of time, music in a Jonathan Demme picture is a way he finds to remind the public of his tastes as a filmmaker. But, on the other hand, both filmmakers know the value of human face, of temporal elation. When I said Demme doesn’t quite care for narrative this is what I meant: Demme captures things in real life, and real life is expressed not by the depth of frame or by the harmonic arrangements of things in the frame, but by the sudden shift of an eyebrow or by the dropping of a jaw. This is the beauty of, say, a work like I’m Carolyn Parker: The Good, the Mad & the Beautiful (2011), a film that unfolds in real time through a digital camera, poorly filmed but full of the milk of human kindness. This is hard to reproduce in a—whether if we like it or not—media so rigorous as fictional cinema. And I say “whether if we like it or not” because all the filmmakers we say we like, like Ford, Hawks, Manoel de Oliveira, Eastwood etc., are filmmakers who worked inside or around the rigor of this media—especially the last two. Demme, disgracefully, has no tack for it, and sometimes he gets confused if he wants to break or follow this rigor, and even if he makes a choice he will sometimes fail in the execution. Even, actually, when he is successful he will jeopardize it (take the “Better Things” sequence from The Manchurian Candidate as an example[8]).
But there was a time when a miracle happened on this Earth and an unstable filmmaker who never made a hit before in his career made a spectacular film that gained him fame and fortune. In his film he closely achieved what Aristotle labeled as the duty of Greek tragedy: “to inspire terror and piety.”[9] If he never repeats this? Hell, it is better to have water flowing underground once in a lifetime than never at all.
Notes
[1] V. https://mubi.com/notebook/posts/notebook-s-8th-writers-poll-fantasy-double-features-of-2015#bruno
[2] This may be conflicting with previous assertions I made, especially with my piece on Brian De Palma’s pictures (see my article “Obsessively Double Body,” desistfilm, March 13th, 2015, http://desistfilm.com/obsessively-double-body-brian-de-palmas-symmetry/). But it is all a matter of interpretation: while Demme is an aesthete, his aesthetics are not the essence of his filmmaking, while De Palma is a filmmaker who creates his world and the situations that happen in then in an exclusively graphic manner. If we remind, his lesser efforts (1987’s The Untouchables, 1978’s The Fury) are those that their center of gravity are based on the script (and the two films I cited are justly some of those in which De Palma had no direct input on the screenplay) and not freely on their mise en scène, even if it plays an important role on their development, especially on the latter. That is, to reuse an example made on the quoted article: When De Palma frames two characters playing different actions at the same time but divided by a wall, or when, through a split diopter lens attached to the camera, a characters walks unknowing on the right side of the screen while a mysterious assassin hides a knife on the left side, De Palma is representing how the world is a mish-mash of separated actions and that these actions—even if they somehow rhyming acts of violence, or at least of violence in potential—and that life happens on the spot, hitting us incessantly through kill moves, sometimes stabbing us behind our backs, and sometimes stopped through other separated, unforeseen happenings, that protects us while we are not paying attention. De Palma’s dilemma is that we are never paying enough attention. Only his camera is, but only because it is not a living body. If it were, perhaps it would be killed, too.
While we can draw it all from the mise en scène, one can notice that I am not making here a purely formalist analysis, nor I believe it can be made. We have here a convergence between the types and symbols found in De Palma’s cinema with their correspondences in reality.
[3] Christopher Dawson, Progress & Religion: An Historical Inquiry (Washington, DC: Catholic University of America Press, 2001), 45.
[4] Olavo de Carvalho, Símbolos e Mitos no Filme “O Silêncio dos Inocentes,” in A Dialética Simbólica: Estudos Reunidos, 2.ª ed. (Campinas: Vide Editorial, 2015), pt. 2, 1, 3, MOBI edition.
[5] Ibid.
[6] “God creates man from the darkness of nothing and insufflates in him, with a touch of the index finger, the light of intelligence. This the Devil can’t do. But he can create a simulacrum, a copy of the world in miniature, artificially assembling a chain of enigmatic obscurities for man to struggle in there. Then, with a touch of hand that suddenly brings everything to light, he releases him. The ordering intuition is, mutatis mutandis, a recreation of the world. Lecter plays being God, bringing from darkness the light in Clarice’s mind.” Ibid., pt. 2, 1, appx. 3.
[7] Werner Herzog interviwed by Jonathan Demme Moving Image Source, June 5th, 2008, http://www.movingimagesource.us/files/dialogues/3/91116_programs_transcript_pdf_304.pdf, page 3.
[8] I wrote a short piece on Demme where I briefly talk about this sequence on my blog. V. https://ablogbyvictorbruno.wordpress.com/2016/02/18/thoughts-on-demme/.
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The Secret Life of Pets
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The Secret Life of Pets. Watch the trailer, download the poster, and read movie news.
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/assets/favicon/apple-icon-57x57.png
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Universal Pictures
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https://www.universalpictures.com/movies/the-secret-life-of-pets
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For their fifth fully-animated feature-film collaboration, Illumination Entertainment and Universal Pictures present The Secret Life of Pets, a comedy about the lives our pets lead after we leave for work or school each day.
In Theaters, Real D 3D and IMAX 3D®
Official Website
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https://www.rottentomatoes.com/m/1104385-hannibal
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2001-02-09T00:00:00
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Seven years have passed since Dr. Hannibal Lecter (Anthony Hopkins) escaped from custody. The doctor is now at large in Europe. Mason Verger (Gary Oldman) remembers Lecter too, and is obsessed with revenge. Verger was Dr. Lecter's sixth victim, and though horribly disfigured, has survived. Verger realizes that to draw the doctor into the open, he must use someone as bait: Clarice Starling (Julianne Moore).
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https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
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https://www.rottentomatoes.com/m/1104385-hannibal
|
Let's keep in touch!
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Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
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https://www.tvguide.com/movies/hannibal/cast/2000129995/
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Hannibal - Full Cast & Crew
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Learn more about the full cast of Hannibal with news, photos, videos and more at TV Guide
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https://www.tvguide.com/movies/hannibal/cast/2000129995/
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57 Metascore
2001
2 hr 11 mins
Drama, Horror, Suspense
R
Watchlist
Where to Watch
Cunning Hannibal Lecter resurfaces after a decade in hiding to toy with FBI agent Clarice Starling in this handsomely-mounted sequel. As Starling's career flounders, Lecter attempts to elude a greedy Italian police detective. Meanwhile, a maimed former victim of Lecter's plots revenge.
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https://www.amazon.com/Hannibal-Movie-Tie-Thomas-Harris/dp/0553502441
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https://blogs.dickinson.edu/classicalstudies/tag/classical-history-on-film/
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Classical history on film – Classical Studies
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2017-03-17T20:27:49+00:00
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by Seth Levin
The movie Hannibal (1959) is a dramatic recreation of the Second Punic War, fought between the two great empires of Rome and Carthage. As the movie begins, viewers are thrown into the midst of Hannibal’s (Victor Mature) Carthaginian army—consisting of soldiers, pack animals, horses, and deadly war elephants—crossing of the Alps, an immense feat,. This spectacle is not downplayed, as Hannibal’s troops are shown marching up steep mountain cliffs, trying to maintain control of their horses and elephants while hindered by the freezing cold. Throughout the entire crossing, Hannibal’s officers relentlessly order the soldiers to “keep marching,” even though some have fallen off the mountain, or been pushed by the horses and elephants. Eventually, Hannibal reaches the summit of the mountain; Maharbal (Franco Silva), Hannibal’s cavalry commander, exclaims “Hannibal! The rations are all gone! The men are freezing to death” and demands that Hannibal “relieve me of my command” (14:50). After their conversation, Hannibal gets word that a barbarian leader and his men, who control the opposite side of the Alps “are surrendering” and that their leader Rutarius (Bud Spencer) “has come down to negotiate” (15:43). Hannibal and Rutarius have a brief conversation in which they make a truce that allows Hannibal to descend the Alps into Italy, while Rutarius is guaranteed supremacy over the region where his tribe lives.
After Hannibal descends out of the Alps, he sets up camp near the Trebia. Here, Mago (Mirko Ellis), one of Hannibal’s brothers, brings a Roman slave into Hannibal’s tent who has information about an important hostage. At first, Hannibal is uninterested, and decides to send him away. Then, the slave urgently exclaims, “I threw myself at the mercy of the all-powerful Hannibal, liberator of the oppressed” and tells Hannibal that the hostage is Sylvia (Rita Gam) “the niece of Fabius Maximus” (Gabriele Ferzetti) (25:23). After the slave discusses the location of Sylvia, Hannibal ambushes her and Quintilius (Terence Hill), who is her childhood friend, bodyguard, and son of Fabius Maximus. During the ambush, Sylvia goes into a cave to hide from Hannibal. Once Hannibal finds her, Sylvia, not knowing who he is, pleads to “let me and the boy go free” and that if he should “my uncle would pay you very well for delivering us from Hannibal; he could even appoint you officer in one of our legions” (28:35). Not falling for the bribe, Hannibal escorts both of them back to his camp.
Back at his camp, Hannibal locks Quintilius in a cage and invites Sylvia to join him in a tour of his camp, as he was stricken by her beauty when he first caught a glimpse of her. While escorting her around his camp, he stops at a vantage point where they can see all of his ally reinforcements and afterwards, Hannibal shows her his elephants, which leaves Sylvia awestruck. At the end of their tour, Hannibal tells Sylvia that “I want you to take a message to your uncle. Tell him that Hannibal seeks peace” (33:48). Sylvia is skeptical towards Hannibal’s notion of peace, but Hannibal reassures her that “The Carthaginians always wanted peace” (34:07). The next morning, he frees Sylvia and Quintilius and allows them to travel back to Rome.
Once Sylvia and Quintilius make it back to Rome, Fabius Maximus assures her that she misunderstood Hannibal’s claims for peace, and that it was not peace which led Hannibal to release Sylvia, but his intentions of intimidating Rome. Fabius then goes to the Senate and devises a plan to “tire him, wear him down with skirmishes. Ambush his vanguards. Each day, each hour that passes is another arrow for our bows!” (38:50). The Senate laughs at his proposal and instead decides to attack Hannibal head-on at the Trebia, a plan devised by an unamed Roman senator played by Renzo Cesana.
After the Senate discussion, the movie quickly shifts towards the Battle of the Trebia, where the Roman army first sees Hannibal’s mighty elephants. During the battle, Roman soldiers are trampled by the elephants and some are even picked up by the elephant’s trunks and thrown around the battlefield. In the closing stages of the battle, a Roman centurion shouts “we can’t hurt these animals! Fall back men!” (40:55). At the river, the Carthaginian army successfully defends their camp against the Romans who are attempting to sail across on makeshift rafts. The Trebia scene however, is mostly dedicated to showing off the might of Hannibal’s elephants, and is unusually short for being the first major battle in the Second Punic War. Following this victory, Hannibal begins to lose sight in his right eye.
Soon after the battle, Fabius discovers that Flaminius has been replaced as commander. Outraged by this decision, Fabius declares that he will “no longer support with my presence” the decisions the Senate makes (44:51). Fabius leaves the Senate. Meanwhile, Sylvia goes back to Hannibal to try to negotiate peace. However, when she arrives at Hannibal’s camp, she discovers that Hannibal does not want to make peace with the Rome, leading her to ask him “Why did you send for me now?” Hannibal replies “Because I wanted to see you, and I hoped you wanted to see me” (51:36). Quintilius then arrives with a plethora of men and begins to attack Hannibal and some of his horsemen. Eventually, after a lackluster and unrealistic battle scene, Hannibal spares Quintilius and Sylvia yet again and sends them back to Rome.
Once they arrive in Rome, Fabius is appalled that Sylvia went back to see Hannibal and betrayed Rome; he sentences her to live out her years in confinement in the Temple of Vesta. The day before her confinement is to begin, Sylvia’s maid brings her good news that “Hannibal has found out; he loves you Sylvia! Hannibal wants you to come to him! He is waiting for you, he loves you!” (57:30). Sylvia flees from Rome, planning to defect to the Carthaginian side for the rest of her days. Meanwhile, the Senate holds a meeting and elects Varro (Andrea Aureli) and Aemilius (Andrea Fantasia) as consuls.
Before the Battle of Cannae, Maharbal plans to murder Sylvia because he believes “that girl will be the ruin of us” (59:05). Hasdrubal tries to placate Maharbal by telling him “there is no woman alive who can influence Hannibal.” But Maharbal replies, “No? Then explain to me why he uses every possible reason to avoid combat?” (1:01:20). In an act of mutiny, Maharbal leaves the gates of the elephant corral open, allowing them to run wild inside the camp. Hannibal bravely saves Sylvia from the elephants and soon after discovers that Maharbal was behind the plot. As a result, Hannibal battles Maharbal until Maharbal eventually loses due to Hannibal’s skill in combat. Hannibal lets him live, stating that “if I didn’t need you I’d…[kill you]” (1:05:40).
After Maharbal’s failed mutiny, the Roman army begins to advance on Hannibal’s encampment near Cannae. Hannibal’s strategy is to deceive the Romans in order to surround them in a pincer formation. He plans to send a small infantry unit out into the field and once they see the Roman army, pretend to retreat, thus drawing the Romans closer to the Carthaginian camp. Then, Hannibal plans for two cavalry units to flank the Roman army from behind, trapping the Romans on all sides. Varro and Aemilius argue about the best way to attack the Carthaginians. Aemilius rides up to Varro and exclaims, “Varro please listen to me! It is madness to place the infantry so close to the river. The cavalry has no room to maneuver. You may need their support in an emergency.” Varro confidently replies “It’s my turn today understand me? I am in command obey my orders” (1:10:00). Thus, the Roman army proceeds in compliance with Varro’s commands.
Once the battle commences, a Roman cavalry force ambushes the small Carthaginian infantry unit. The infantry retreats according to plan and the Roman army pursues them, believing that the Carthaginians are weak. Hannibal seeing his plan succeeding, slyly states “like rats in a trap” (1:13:35). The fighting begins and the Roman army is soon completely overwhelmed by the Hannibal’s, due to Varro’s faulty battle maneuver. The Roman army signals retreat, but Hannibal orders that “not a single Roman is to leave Cannae” (1:20:50). The Romans are obliterated and while the Carthaginians are surveying the disastrous battlefield, Hannibal finds Sylvia holding a dead Quintilius in her arms.
Back in Rome, realizing their strategy for dealing with Hannibal is ineffective, the Roman Senate appoints Fabius Maximus as proconsul, while bringing him Quintilius’ sword. Looking at the sword, Fabius sternly swears to the senators, “Rome will never submit to a foreign invader. In the words of Hannibal himself when he crossed the Alps, ‘conquer or die’” (1:24:08). The scene then shifts back to Hannibal, who is enjoying a lavish victory feast in Capua, topped off by an arena full of gladiators and games. The festivities are cut short though when Hannibal discovers that Maharbal, who he sent to Carthage to obtain more troops, “has just arrived and is in your tent” (1:27:40). Hannibal and Sylvia rush back to his tent, only to find Maharbal with Hannibal’s wife Danila (Milly Vitale), and son. Feeling completely betrayed and heartbroken, Sylvia steals a horse and miserably departs from the camp. Hannibal angrily demands why Maharbal brought no troops, to which Maharbal replies, “if you had followed my advice, Rome would have been destroyed, and Carthage would not have denied you your request” (1:29:49). Hannibal then swiftly grabs a horse and rushes to catch up with Sylvia.
Hannibal catches up to Sylvia, and during their conversation, a Roman cavalry unit surprises them, and plans to attack them. Seeing that the men are Roman, and still grieving, Sylvia shouts “Stop! Wait! Take me with you I’m Roman!” (1:32:27). Sylvia returns to Rome with cavalry unit and Hannibal never sees Sylvia again. Hannibal goes back to his tent, where he demands that Danila take her son back to Carthage so that he will never “know the meaning of the words hate and revenge” (1:33:49). While Hannibal is ordering Danila to do this, they hear a loud commotion outside the tent. Hannibal soon finds Hasdrubal’s head in his camp. Hannibal had sent him to Italy to wage war and is informed by Mago that a Roman rider threw the head into one of their outposts. Hannibal and his son embrace and mournfully walk away from the atrocity.
In the final scene of the film, Fabius Maximus has arranged for Sylvia to be buried alive for deserting to the Carthaginians. He goes to her cage before the public execution and gives her a vial of poison, showing some mercy towards his niece. While she is being buried, he unhappily looks down at the ring which Hannibal gave her and the scene fades to Hannibal holding the exact same ring. Then, learning that the Romans are attacking his camp, Hannibal prepares for battle. In the final shot of the movie, Hannibal’s austere face is superimposed on the screen with fire and dead Roman soldiers screaming “March!” over and over again, similar to the beginning of the movie on the Alps. However, instead of being merciful, Hannibal is out for revenge (1:39:00).
The main ancient Roman historian who writes about Hannibal and the Second Punic War is Titus Livius (Livy). Livy however, does not write solely on Hannibal and the Second Punic War in his work, but instead focuses more on a collective number of people and events. In his Ab Urbe Condita, Livy wrote not only about the Hannibalic Wars, he also wrote 142 books on the complete history of Rome, ending with the reign of Emperor Augustus. Written around 25 BC using earlier historical texts as assistance, only around 25% of the original Ab Urbe Condita remains. The history of the Hannibalic Wars is told in books 21-30.
Livy writes about the Hannibalic Wars in order to “provide an account of the most momentous war ever fought” (21.1). Therefore, Livy’s main goals are to provide a detailed and accurate account of the events and battles throughout the war, while oscillating between the forces of Hannibal and the senators and consuls of Rome. Because Livy wants to memorialize the Hannibalic Wars, he writes in great detail about every minute topic relevant to the war. During his account of the war, Livy lists the number of soldiers fighting in each battle, including each force’s respective nativity, as well as the many generals on both sides and the men of notable status who were slain during battle. Livy even devotes a whole paragraph during his retelling of the Battle of Cannae to describing what each auxiliary unit in the Carthaginian army carried into battle (22.46). Livy also discusses with great care events going on in Rome simultaneous to the war, and incorporates dialogue among the Roman Senators.
Even though Livy is Roman, he does not falsify Hannibal’s character and perceive him as a barbarian but instead, gives him praise where it is due. For example, while describing the events before the Battle of Trebia, in which Hannibal is in desperate need of supplies, Livy tells how the town of Clastidium held a Roman stockpile of wheat. After capturing the town, Livy states that it “became the granary of the Carthaginians while they remained at the Trebia. So that Hannibal could have a reputation for clemency established right at the start, no harsh treatment was meted to the prisoners from the surrendered garrison” (21.48). Furthermore, Livy is sure to make mention of Hannibal’s allies, in order to show that Hannibal was not only a commander, but a diplomat as well. Livy contributes a large portion of Hannibal’s victories to his alliets, listing all the allied troops who helped turn the tide of the battle. During the initial stages of the Battle of Trebia, Livy states that “when the Numidians struck, Sempronius first led out all of his cavalry” (21.54). Also, Livy uses Hannibal’s crossing of the Alps to credit Hannibal’s diplomacy, as his Gallic auxiliaries “managed to insinuate themselves into conversations with the local mountain men, from whom they differed little in language and customs. Through them Hannibal gained further information that the pass was guarded only by day, and at night all the men slipped away to their own homes” (21.32). Livy understands that Hannibal was a visionary who accomplished great feats in a foreign land, but his ubiquitous mention of Hannibal’s allies helps the reader establish Hannibal as not only a military victor, but as a diplomatic one as well. Without his many foreign allies, Hannibal would have had a much harder time conducting operations in Italy.
There are many historical inaccuracies in the movie. The most noteworthy inaccuracy has to be Hannibal’s perceived friendliness towards the Romans, shown through the fictional character Sylvia. In book 21 of his work, Livy tells the story of how Hannibal’s father Hamilcar “brought Hannibal to the altar and there made him swear to make him himself an enemy of the Roman people at the earliest possible opportunity” (21.1). It is, therefore, impossible to believe that Hannibal would ever talk of peace, as well as show passion towards Sylvia, who is a Roman. It is also unlikely that Hannibal would ever allow the son and niece of Fabius to return to Rome; it is more likely he would use them as leverage to gain information about Rome’s military operations. Also, no character resembling Sylvia is ever mentioned in Livy. Her character was invented solely to function as a love interest and add a more interesting facet to the plot; without Sylvia, the movie would have been a war film with only battles and war preparations contributing to the plot. Also invented, is Hannibal’s romantic personality. In one scene in the movie, Hannibal gives Sylvia a ring so that she could pass into Hannibal’s camp without being harmed. Hannibal tells her that “I wanted to see you, and I hoped you wanted to see me” and then proceeds to kiss her (51:36). Later in the film, Sylvia discovers in Rome that “Hannibal wants you to come to him! He is waiting for you, he loves you!” (57:30). Towards the end of the movie, Hannibal is visited by his wife Danila, another fictional character who only serves to heighten the sexual tension between Hannibal and Sylvia. With these two female characters, the directors Carlo Ludovico Bragaglia and Edgar G. Ulmer completely falsify Hannibal’s romantic and familial entanglements.
Hannibal’s perceived felicity in the film is surely fictitious. In the movie, Hannibal is always smiling and dedicates part of his days towards leisure, particularly seen through his interactions with Sylvia. Hannibal even celebrates his victory at Cannae by hosting a huge luxurious party. Livy writes however that, “his eating and drinking depended on the requirements of nature, not pleasure,” and “the time which he had left from discharging his duties was given to sleep, and it was not brought on by a soft bed or silence” but, “the man’s great virtues were matched by his enormous vices: pitiless cruelty, a treachery worse than Punic, no regard for the truth, and no integrity” (21.4). The Hannibal presented in the last remaining minutes of the movie more accurately matches the one whom Livy writes about. The reason why the movie portrays Hannibal in this way is because it helps enhance his romance with Sylvia. If Hannibal was always sternly focusing on his campaign in the movie, the romance between he and Sylvia would be less believable, as his personality would be more off-putting. However, as stated in Livy, it is extremely unlikely that Hannibal would ever submit himself towards leisure and luxury during his campaigns in Europe.
Like Sylvia, Fabius’ son Quintilius is another made-up character in the movie. Although Fabius did in fact have a son, his name was also Fabius Maximus and Livy writes that Fabius’ son, many years after the Battle of Cannae, was elected to the consulship (24.43). In the movie on the other hand, Quintilius is killed during the Battle of Cannae. Quintilius dies in the movie because it cements the ineffectiveness of the Romans during the initial battles of the Second Punic War. It also underscores that Fabius’ strategy of delay (cunctatio) was the correct way to deal with Hannibal. Since Quintilius and Sylvia were good friends, his death causes Sylvia’s to question her romance and desertion to Hannibal, adding another dynamic to the romantic plotline.
Despite these inaccuracies, the directors do accurately display Hannibal’s diplomacy and usefulness of his allies. In the beginning of the film when Hannibal is crossing the Alps, Rutarius asks Hannibal for the “supremacy of my tribe over all the other tribes in the valley” (16:32). Hannibal grants Rutarius his hegemony and forms an alliance with him, highlighting his unwavering focus on diplomacy. While escorting Sylvia through his encampment, Hannibal makes note of his allies, “my Numidians. And over here is my Libyan cavalry. And over here on my far right are my Spaniards, the greatest horsemen on the continent. And up here are my Carthaginians, the main core of my strength” (31:57). As mentioned in Livy, Hannibal utilizes these auxiliary contingents to secure important military victories for the Carthaginian army. Therefore, the directors understand that Hannibal promoted diplomacy, and allied with many peoples in his quest to invade Rome.
In some respects, the movie correctly depicts the difficulty of crossing the Alps. During the crossing, both in the movie and in Livy, Hannibal’s men “could not keep from falling and, even after losing their balance only slightly, they could not, once in difficulties, keep their footing, so that they would fall over each other, and the pack animals would fall on the men” (21.35). Surprisingly, the movie even shows the difficulties of marching the elephants through the narrow passes of the Alps, as the Carthaginians had melt snow and dig through rock in order to form a wide enough passage for the huge beasts (21.37). Even though the movie correctly displays the harsh natural terrain Hannibal encountered during his time crossing the Alps, it makes no mention of the many Alpine tribes which Livy claims “made predatory raids on the head or the rear of the column” (21.35). I believe that the movie strays away from this facet of Hannibal’s march in order to mold him into a more fearful central hero, common amongst sword-and-sandals movies. Thus, during his march in the film, Hannibal and his army are characterized as an unstoppable force that even the great armies of Rome will have difficulty handling.
There is also a small amount of historical accuracy during the battle scenes in the movie. The directors do a good job at depicting the battle plans of Hannibal at the Battle of Cannae, at which Livy states Hannibal “deployed his battle line, and provoked his enemy with sudden charges from his Numidian troops” (22.44). At the Battle of the Trebia, the film highlights the importance and ferocity of Hannibal’s war elephants, which were a constant threat during the actual battle in 218 BC. The film over-dramatizes their usefulness, though, and attributes to them a large portion of the victory at the Trebia. In actuality it was Hannibal’s auxiliary forces, especially the Numidians who were “to cross the River Trebia, ride up to the gates of the enemy and entice him out to battle by hurling spears” who contributed the most to that victory (21.54). The over-dramatization of these elephants makes Hannibal, as stated before, a more terrifying central character.
The film does an excellent job depicting the constant feud between the two consuls Varro and Aemilius Paulus before the Battle of Cannae. As mentioned in Livy, Varro and Paulus would oscillate each day as the supreme commander of the army, and have endless arguments concerning tactics. Identical to Livy’s description, the movie shows Varro and his followers are “angry and eager to fight” while Paulus “would choose safety over impetuous plans” (22.44, 22.38). Both in the film and in Livy’s work, Varro becomes war-crazed and “without conferring with his colleague in any way, he put up the signal, and led his troops over the river in battle order” (22.45). Although the directors stray away from historical accuracy in their creation of Sylvia and Quintilius, they do a good job accurately depicting Varro and Aemilius, as well as Hannibal’s battle tactics.
Maharbal’s disagreement with Hannibal’s strategy is also historically accurate. After winning Cannae, Livy states that Maharbal wanted to “go ahead with the cavalry – so the Romans will know of our arrival before they are aware of our coming.” However, Hannibal “declared that, while he appreciated Maharbal’s enthusiasm, he would need time to consider his suggestion.” In response to this, Maharbal furiously responds, “you do not know how to use victory!” (22.51). In the movie, Maharbal orders Mago to “explain to me why he [Hannibal] uses every possible reason to avoid combat?” after their victory at Trebia (1:01:20). Maharbal hypothesizes that “If you [Hannibal] had followed my advice, Rome would have been destroyed, and Carthage would not have denied you your request [for more soldiers]” (1:29:49). Unlike Hannibal’s unrealistic personality, Maharbal’s depiction in the movie closely represents his personality in Livy.
Overall, Livy is less concerned with glorifying the Roman name and is more interested in preserving the fascinating history of Rome as accurately and impartially as possible. Even though Livy covers more than 700 years of Rome’s history, he is exceptionally thorough. He has an extreme attention for detail and describes the number of troops each side had, who was in command, and what auxiliary units were utilized particularly well. Despite being a Roman, he is not afraid to praise the admirable qualities of the Carthaginians, or criticize the Romans for their reprehensible ones. In comparison, the directors of Hannibal praise Hannibal for being a great military commander with tons of ambition. However, through the fictional character Sylvia, the movie is more concerned about generating a “war-romance” film in order to retain the attention of the audience. Because of this, the “action scenes can be desultory” and brief, as more attention is given towards Hannibal and Sylvia’s unlikely romance (Hoberman).
Hannibal was directed by the Italian directors Carlo Ludovico Bragaglia and Edgar G. Ulmer and was released in 1959 in Italian under the name Annibale. The movie was not released in the United States until a year later and was not released on DVD until 2004. Funded by Warner Brothers Studios, the movie was shot at Cinecitta Studios in Rome, Italy. Cinecitta studios was founded by Benito Mussolini to promote Italy and fascist ideals through cinema. After the Second World War, Cinecitta Studios was used by many American movie companies because of how cheap it was to film there, the same reason why Warner Brothers chose to use the site. Many other sword-and-sandals movies were also made in Cinecitta Studios besides Hannibal, including Quo Vadis and Ben-Hur (“History of Cinecittà.”). The movie had an estimated four-million-dollar budget (IMDb), which was used to cast “over 4,000 foot-soldiers, 1,500 horsemen, 45 elephants and a vast assortment of war machines” in the Battle of Cannae alone (back of DVD box). Because this movie was filmed in the late 1950s, there were no special effects or use of computer-generated imagery. All of the elephants, horses, and soldiers were present during the shooting of the film and all the battle scenes were shot without special effects. This is the main reason why there are very few on-screen deaths and blood during these scenes.
Victor Mature and Rita Gam, Hannibal and Sylvia respectively, were both American actors and are the two biggest stars of the film. They both recorded their lines in English, as opposed to the other members of the cast, who spoke in Italian. For the English version of the film, all the Italian actors’ lines were dubbed over in English. I believe that the directors of the movie cast Mature and Gam in order to gain more publicity with the larger American audience and generate a larger box-office. However, I personally did not enjoy the acting in this film mainly because the dialogue between the characters felt unrealistic, thus bringing down the plausibility of each character. I also believe that the movie’s inaccuracies, primarily Hannibal and Sylvia’s romance, further exacerbated the weakness of the acting. Because I have prior knowledge of the Second Punic War and have read for this project many sections of Livy’s account, I cringed at most of the scenes in the movie because I know that they simply never happened. A review of the film by Variety Movie Reviews said that, “director Edgar G. Ulmer has not accomplished battle sequences and bloodshed very smoothly or persuasively.” I completely agree with this review, as the battle sequences in this film were extremely dull and implausible. Soldiers were able to flee enemies without any pursuit, sword fights were between two men haphazardly swinging their swords at each other with no intention to kill, there were hardly any on screen deaths, and finally, both of the battle scenes were short (Appendix 3). To put it concisely, “the film gets off to an interesting start in scenes illustrating the difficult and costly crossing of the snowy Alps by Hannibal’s army, but slows down to an elephant’s pace in the romantic passages at the heart of the picture” (Variety).
Hannibal is categorized under the sword-and-sandals, or peplum, genre. This genre consists of movies that incorporate traditional muscleman films into a historically classical setting. The main sword-and-sandals genre primarily focuses on a hero discovering a wrong and setting out to fix it, culminating in a nice, happy ending. However, Hannibal is very different from this style of sword-and-sandals, and falls into the distinct category of sword-and-sandals movies that mainly focus on plot and character development rather than action sequences, similar to the movie Messalina (Young). I think the movie strays away from action sequences because an hour and a half of fighting and military tactics would only draw in a very specific audience, as the movie would feel more like a documentary than a movie. Without the dialogue and character development, the characters of the movie would be dull and lifeless and the audience would in return feel no emotional attachment for any of the characters. The romance aspect in the film allows the audience to develop emotions for both the Carthaginians and the Romans. However, as mentioned earlier, I believe that the movie is ineffective at achieving these goals due to how unrealistic the plot seemed to be. The movie strays away from the traditional sword-and-sandals genre again in the sense that it neglects a main sword-and-sandals theme of fantasy, usually satisfied by the introduction of mythological heroes or gods. However, Hannibal does share themes with the traditional sword-and-sandals style, mainly a central hero (Hannibal) who fights against a villain (Fabius Maximus and Rome). Also, the movie provides a love interest (Sylvia) for the hero, which is common amongst many sword-and-sandals movies.
Because it is predominantly a romance film, the main theme of the movie is that love knows no bounds. Although Hannibal is constantly at war with Rome and Fabius Maximus, Sylvia’s uncle, he nevertheless loves Sylvia and ignores her Roman nationality. Sylvia even abandons Rome and her uncle altogether in order to spend her time with Hannibal. Furthermore, Sylvia stays with Hannibal after the Battle of Cannae after she discovers Quintilius, her lifelong friend, was killed by Hannibal’s army. The scene that does the best job broadcasting this theme is when Hannibal duels Maharbal in a swordfight due to Maharbal’s attempt to kill Sylvia. Even though Maharbal is Hannibal’s cavalry commander and a crucial part of the Carthaginian army, Hannibal puts that all aside when his romance with Sylvia is at stake (59:00-106:00). As mentioned previously, Hannibal even considers peace with Rome due to his infatuation with Sylvia. At the end of the movie, when Hannibal discovers that Sylvia was executed by Fabius, he commands more vigorously and ruthlessly than ever before. As Maharbal states in the movie, Hannibal was controlled by his love for Sylvia (59:00). However, the love between Fabius and Sylvia also contributes to this theme. After Sylvia’s second visit with Hannibal, Fabius spares her from death, because of his love for her. Finally, after Sylvia defects from Hannibal’s camp following Cannae, Fabius, instead of keeping her alive throughout the entire length of her execution, shows mercy final time by giving her a vial of poison. Whether the relationship is between lovers or family members, love in this movie completely defies boundaries.
A smaller yet still present theme in the movie is that patience is the key to success. Throughout the movie, Fabius Maximus was ostracized and heckled because of his strategy to, “tire him, wear him down with skirmishes” (38:50). Fabius never pushed his agenda down the Senate’s throat and calmly waited for the senate to realize their mistakes in actively pursuing battle with Hannibal. However, after losing to Hannibal’s army at Trebia, Transimene, and Cannae, the Roman senate named Fabius proconsul, and gave him control over the Roman army and its operations. However, because the film is over-saturated with love and romance, this theme is rarely present.
A movie which we watched in class which was made around the same time as Hannibal and is also in the sword-and-sandals genre is Spartacus (1960). Both of these movies are in the same subsection of the sword-and-sandals genre but in my opinion, Spartacus is more interesting than Hannibal because it still has a considerable amount of satisfying action sequences in addition to having a good amount of dialogue and plot development. In Hannibal, the romance between Hannibal and Sylvia is at the forefront, with the war being a secondary plotline in the movie. Because of this, the battle scenes in the movie are forced and unsatisfying. In Spartacus, the romance between Spartacus and Virinia is definitely in the background, as the main plotline of the movie focuses more on Spartacus’ revolt against Rome. Unlike Hannibal, Spartacus’s battle scenes were more realistic, as they were filmed outdoors instead of on sets inside a studio. The actors fighting in these battle scenes were much more convincing as well; they did not blindly swing swords at each other, but had some grace in their movements and actions. I also found Spartacus’ romance to be more convincing than Hannibal’s romance because Spartacus and Virinia were both oppressed slaves serving Rome instead of bitter enemies who in theory should hate each other. For these reasons, I was thoroughly intrigued during the entire runtime of Spartacus, but very bored while watching Hannibal, even though the Second Punic War is a subject that I am very interested in.
In my opinion, this film is very weak in its portrayal of Hannibal and the Second Punic War. The battle scenes were atrocious and the soldiers were unintentionally humorous as they blindly swung their swords at each other. If I was shown only these battle scenes without any context, I would think that the movie was a sword-and-sandals parody due to how unrealistic and terribly hysterical the fighting seemed to be. The romance between Hannibal and Sylvia seemed implausible and forced as Livy and other ancient historians note that Hannibal was dedicated to his campaign, had no time for personal luxuries, and would never love let alone mention peace to a Roman. Furthermore, the fictitious characters of Sylvia, Quintilius, and Danila made the movie seem less historically accurate and more fantastical. The only admirable strength in my view is the movie’s portrayal of Hannibal’s determination when crossing the Alps and his diplomacy. Other than those two traits, the movie completely alters Hannibal’s personality, for the worse. When I was initially assigned this paper, I was very excited to watch this movie and learn more about the Second Punic War and Hannibal. However, after watching the movie, I would strongly recommend not watching it because a good portion of it is made-up and the rare scenes that are historically accurate are just plain boring. Although it does a good job in the first twenty minutes depicting Hannibal’s crossing of the Alps, the movie does a lackluster once showcasing Hannibal’s campaign in Italy.
(Header Image: Detail from fresco Hannibal Crossing the Alps. Attributed to Jacopo Ripanda, c. 1510. Palazzo del Campidoglio (Capitoline Museum), Rome. Photograph © José Luiz Bernardes Ribeiro / CC BY-SA 4.0 via Wikimedia Commons.)
Bibliography
Hannibal. Directed by Edgar G. Ulmer. 1960. DVD.
“Hannibal.“ IMDb. Accessed May 07, 2016.
“History of Cinecittà.” Studios in Rome. Accessed May 07, 2016.
Hoberman, J. 2004. “Hannibal (Film).” Film Comment 40, no. 6: 78-79. Film & Television Literature Index with Full Text, EBSCOhost. Accessed May 7, 2016.
Livy. Hannibal’s War Books 21-30. trans. Yardley, J. C. and Dexter Hoyos. Oxford: OUP Oxford, 2006.
Variety Staff. 1960. “Hannibal.” Variety Movie Reviews no. 1: 26. Film & Television Literature Index with Full Text, EBSCOhost (accessed May 7, 2016).
Young, Timothy. “The Peplum.” Peplum Guide and Film Reviews at Mondo Esoterica. Accessed May 07, 2016.
Hollywood and History is an on-going series featuring the original work of students in the course Ancient Worlds on Film. Papers have been slightly edited for publication.
by Tobin Bromberg
Synopsis of Druids
The film Druids, also known as The Gaul, opens in the year 60 BC, with the people of Gaul facing dire times. Turning to a religious ceremony in order to find a solution to the woes of the Gallic people, the Druids witness a shooting star. The arch-Druid Guttuart (Max von Sydow) proclaims this to be a sign that a new king shall soon come to Gaul, despite the fact that Gaul had long ago abandoned a monarchical government. The film cuts to the Avernian capital, Gergovia, where a young Vercingetorix (Assen Kukushev) shows one of his friends, the daughter of a Gallic chieftain, around the city. He boasts about the meaning of his name, literally translated as “king of great warriors”. He aspires to achieve the power that his name holds, saying that he will one day be the king of Gaul, and tells the girl that she will be his queen. Vercingetorix and Epona, eager to find out what important matters their elders are discussing, sneak into a cave where a meeting of Gallic chieftains is being held. Here, Vercingetorix’s father, Celtill (actor not named) presents to the chieftains the crown worn by the Gallic kings of old. As soon as he does this, two Roman spies disguised as Gauls shoot him in the back with an arrow. Vercingetorix flees from the scene, while Celtill’s brother, Gobanittio (actor not named), detains him. Vercingetorix then watches his uncle burn his father alive, and swears vengeance, saying, “I will kill you, Gobanittio” (00:11:30).
The film leaps forward many years, bringing us to a now adult Vercingetorix (Christopher Lambert). He has been educated by Druids, and still holds fast to the childhood promise he made to his uncle. He and Guttuart approach a road that the Romans are building, but Guttuart runs away when Julius Caesar (Klaus Maria Brandauer), accompanied by Roman legionaries, approaches. Caesar attempts to recruit Vercingetorix and the Avernes to help him invade Britain, offering the Gauls half the booty that they will capture. Caesar gives Vercingetorix a horse on which to ride back to Gergovia. Upon arriving, Vercingetorix acts on his promise from so many years ago and kills his uncle. He tells the people of Caesar’s offer, to which they react with great enthusiasm.
The scene shifts to Bibracte, where Caesar meets with various chieftains of Gaul to discuss the British expedition. Many of the chieftains agree with his plans, but Dumnorix (Bernard-Pierre Donnadieu) voices his doubts, saying he will not join the expedition. Caesar, displeased with Dumnorix’s dissent, takes his children hostage. In a private meeting with Caesar, Vercingetorix reunites with his childhood friend, Epona (Ines Sastre). Caesar shows them the crown of Gaul and offers to make Vercingetorix king, saying that the Gallic people could be better off united under a single leader. Vercingetorix refuses, claiming that destiny, and not man, must choose the king. Caesar receives word that Dumnorix has attacked a Roman outpost, and sends Vercingetorix to capture him. Vercingetorix tracks down Dumnorix, who tells him that the Romans were to blame for Celtill’s death. Immediately afterwards, two Roman soldiers assassinate Dumnorix. Vercingetorix chases after them, and kills one. He gives the remaining soldier Caesar’s horse as well as a severed arm of the dead soldier, and orders him to “bring back to Caesar what belongs to Caesar and give my tribute to him” (00:36:03-00:36:13), officially ending the alliance between the Avernians and the Romans. Caesar receives Vercingetorix’s gruesome gift and realizes that the Romans have “made [him] an enemy; and it would be much better to have him as a friend” (00:37:02). He proceeds to place a bounty on Vercingetorix’s head.
Vercingetorix heads back to Gergovia, where the Roman guards of the city tell him that he is banished due to Caesar’s decree. He turns away from the city without saying a word. Later that night, Vercingetorix and his supporters murder the Roman soldiers at Gergovia. Having been liberated from Roman rule, the Avernians rally around Vercingetorix; he proclaims that he will only become king if his people want it to be so, not if the Romans choose him for the position. His people give him nearly unanimous support, and he becomes the king of Gaul.
Vercingetorix wastes no time putting his newfound power to use, leading scorched-earth campaigns against Roman settlements and burning entire cities to the ground. Vercingetorix spares the city of Avaricum, though his decision to do so was not made without a significant internal conflict between what is right and what is necessary. Caesar, however, orders that all of the inhabitants of Avaricum be slaughtered, causing great pain to Vercingetorix. The Roman army arrives at Gergovia, along with their allies, the Eduens, ready to crush the Avernian resistance. The Avernians attempt psychological warfare, throwing chickens at the Roman soldiers and having their women flash them, hoping that confusion and lust will overpower the Romans’ senses, causing chaos on the battlefield and crippling the Roman army. As the Romans prepare for what seems to be an extremely lopsided battle, it is revealed that the Eduens are extremely upset with Caesar because of his order to massacre the people of Avaricum; they abruptly end their alliance with Rome, switching sides in the conflict.
Suddenly outnumbered, the Romans have no choice but to retreat. With victory secured, the chieftains of Gaul assemble and choose Vercingetorix to be the commander in chief of a united army of all of the tribes of Gaul on account of his obvious military genius. The Gauls now feeling that their people may survive the Roman onslaught with their customs unchanged, burn an effigy of Caesar. Overcome with joy, Vercingetorix makes Epona his queen.
Unbeknownst to the Gauls, while they were celebrating, Caesar traveled to the Rhine River, where he enlisted the help of the Teutons, fearsome warriors from what is now Germany. The next day, the Teutons ambush a group of Vercingetorix’s men while they are riding through the countryside on horseback. One of the horses returns to the Gauls carrying its dead rider, and Vercingetorix identifies the weapon that killed him as Teutonic. The Teutonic presence in Gaul distresses him greatly, as it demonstrates to him that the Romans will stop at nothing to conquer Gaul. That night, at Alesia, some of Vercingetorix’s men try to convince him to leave, as they have received word that Caesar will attack soon. However, he makes this situation into his own personal Rubicon, going so far as to quote Caesar, saying that Gaul does not need a huge battle but “now the die is already cast” (01:17:41). With this, Vercingetorix seals his fate, essentially saying that he will fight until the end to prevent the Romans from conquering Gaul.
The battle begins with the Romans laying siege Alesia, building a series of fortifications around the city. Within, Vercingetorix begins to resort to desperate measures, halving rations so that the Gauls are able to hold their ground longer than expected. He orders his troops to go out into Gaul and recruit as many men as possible into a relief army, but warns them not to attack, as he cannot risk losing any of the people who make up his inner circle. Problems continue to arise in the city, as the Gauls’ food supply drops so low that they are forced to release their horses. In desperation, Vercingetorix suggests sending out everybody who cannot fight, though Epona persuades him to let the children remain in the city.
Meanwhile, the Gauls outside the city experience significant difficulty trying to elect a general for their relief army, as people initially try to tamper with the election. When this problem is fixed, they still have difficulty choosing a general, as none of the candidates receive a majority of votes. Eventually the Gauls agree to have four generals of equal rank, The relief army finally arrives at Alesia, significantly delayed because of the infighting. Though Vercingetorix now has the numbers required to take defeat the Romans, he refuses to give to order the attack. In the Roman camp, Caesar tells his advisors that they will starve to death if the Gauls do not attack, stating that their campaign will end either with “triumph or death” (01:31:25). Caesar justifies putting his army at risk of starvation by saying that he has destiny on his side. Unable to wait any longer, the Gauls try to persuade Vercingetorix to attack; he gives in and agrees to lead the Gauls in battle, but not before making it known that they will most likely all be killed, saying, “we will become immortal” (01:36:17).
Prepared to defend their homeland or die trying, the Gauls rush forth from the walls of Alesia. However, the Romans’ superior military technology immediately becomes obvious, as they mow down Gauls with javelins and arrows before the front lines engage. Finally, Caesar gives the order to release the Teutonic cavalry. This spells doom for the Gauls, as the Teutones prove to be too much for them to handle. The Gauls retreat through a field littered with the innumerable bodies of their fallen comrades. Everyone left behind is slaughtered, including the women and children. The Gauls having been conquered, Vercingetorix gives up the throne. He rides to the Roman encampment where he lays down his arms and kneels at Caesar’s feet admitting defeat. As the film ends, Guttuart narrates what happened afterwards: Caesar is assassinated on the Ides of March in 44 B.C, while Vercingetorix had been executed 2 years earlier.
Ancient Background
Book 7 of Julius Caesar’s De Bello Gallico is the only ancient source dealing with the life of Vercingetorix. He tells the story with little emotion or extraneous detail, choosing to focus exclusively on the military actions of the Romans and the Gauls, rather than the underlying causes behind said actions. He shows Vercingetorix as an extraordinary military leader, able to use his ability to earn whatever position he desired. The Gauls are said to have fairly advanced military technology, mostly due to being “an extremely resourceful people” (Caesar, 7.22). Among their military technology were such things as ropes designed to entrap and steal Roman equipment and walls that were resistant to both fire and battering rams. When writing from a Gallic viewpoint, Caesar portrays the Romans as brutes; in one speech allegedly made by a chieftain to incite war Rome is said to be rife with “singular and nefarious cruelty” (Caesar, 7.77). Conversely, when writing from the Roman point of view the Aedui are deemed untrustworthy. They first “greatly terrified our men” (Caesar, 7.50), despite being brought in to help the Romans, and ultimately revolted against Roman rule.
During battle scenes, Caesar depicts the Romans as underdogs, citing the Gauls’ numbers, position and familiarity with the land as giving them numerous advantages. Despite doing this, he does not downplay the military strength of the Gauls, often referring to them as fierce warriors. Caesar does not rest on his laurels even when Vercingetorix is captured. Rather than praise himself, Caesar simply states, “Vercingetorix was handed over and his weapons were thrown down” (Caesar, 7.88). With sentiments such as this, De Bello Gallico presents a clean, unembellished view of the events that transpired during the Gallic revolt.
Caesar provides a less detailed and positive view of Vercingetorix’s early life than the film. Druids suggests the death of Vercingetorix’s father was a Roman conspiracy in order to make the audience sympathize with him and his fight against Rome. In De Bello Gallico, Caesar does not indicate any connection between the Romans and the death of Celtillus; he claims that, “trying to gain a kingdom, Celtillus had been put to death by the state” (Caesar, 7.4). Vercingetorix’s motivation, according to Caesar, was not revenge but the expansion of his territory and the removal of Romans from Gaul. Caesar also contradicts the idea that the Gauls had long ago abandoned monarchy, stating that Celtillus “had held power over all of Gaul” (ibid.). This is one of the major differences between the film and the ancient sources. It is clear that Caesar’s portrayal stems from the fact that Vercingetorix was not seen as superior or inferior to any other barbarian chieftain. Because Vercingetorix holds no special status in Roman culture he is not romanticized or exaggerated in any way. The film and novel do agree on one point, however. Just as the film did, Caesar shows considerable admiration for Vercingetorix’s military ability, referring to him as “a young man whose abilities were second to none” (Caesar, 7.4).
While Druids portrays Vercingetorix as a kind and compassionate leader, Caesar portrays him as the opposite. De Bello Gallico depicts Vercingetorix as cruel, stating that for serious crimes, “he killed offenders with fire and all types of tortures” (Caesar, 7.4); for less serious infractions, “he sent offenders home without their ears or eyes” (Caesar, 7.4). Though Druids suggests that the Gauls joined Vercingetorix’s army for the greater good for their country, De Bello Gallico gives a more stark reason for their enlistment saying that many Gauls were compelled to join his army through fear of Vercingetorix’s reputation for cruelty and torture. Caesar views Vercingetorix’s methods of conscription as cruel and unusual, forcing every able-bodied man from every Gallic state to fight regardless of their other responsibilities. Caesar’s commentary also paints the Gauls as being less motivated by the desire for freedom than they are in Druids. Rather than rallying around Vercingetorix and forming an army of their own accord, the Gauls are forced to action on pain of torture, providing a starkly different view of Vercingetorix’s recruitment methods than what is shown in the film.
Caesar’s intent in writing his account of Vercingetorix’s rebellion is not to entertain the Roman people, nor is it to show the Romans as superior to the Gauls. His writing is simply meant to inform the populace back in Rome of the current state of affairs in Gaul. While Caesar does occasionally praise the Romans, he does not fail to acknowledge both the ingenuity and the tactical skill that the Gauls displayed in battle. Caesar’s language is extremely plain, meant only to inform people of the events that were happening in Gaul, nothing more and nothing less. Though Caesar’s writing is fairly neutral, it is meant to show the superiority of Romans over barbarians, depicting Caesar’s tactics and strategies as brilliant, spur of the moment ideas, thus pointing out Caesar’s own military excellence.
Making the Movie
Chris Parry, in his review of the film on efilmcritic.com, opens first by comparing Druids to a low budget remake of Braveheart set in Bulgaria. He then asks, “who knew they could make movies this bad?” (Parry 2002). This question, unfortunately, is one that must be asked while viewing Druids, which in addition to being both a critical and a commercial failure, is often said to be one of the worst French films of all time. The goal of the film was to provide a dramatization of Vercingetorix’s life, an endeavor at which the film fails. Druids is rife with historical inaccuracies, either due to lack of knowledge or accurate sources on the part of the writer/director, Jacques Dorfmann, an attempt to make Vercingetorix more sympathetic, or a combination of all three reasons.
The main creative force behind the film was Jacques Dorfmann, the director. He filmed in Bulgaria, roughly 1,300 miles from where the actual events depicted in the film would have taken place, though this is just the first in a cavalcade of historically inaccuracies seen throughout the entirety of the film. The script seems to be based loosely upon Caesar’s De Bello Gallico, though significant changes were made in order that Vercingetorix might appear more sympathetic. To begin with, in the film Vercingetorix’s father is not executed by the state, rather he is murdered in a Roman conspiracy. Furthermore, the Romans are cruel and brutish, concerned only with expanding their empire, while Caesar is extremely arrogant, finding delight in indulgence, and entirely devoid empathy. This is all a result of the traditional French view of Vercingetorix, which dates back to the Napoleonic era. Napoleon III especially admired Vercingetorix, and “used Vercingetorix to get across a powerful political message, which was: get behind me, and we will fight together against the invader” (Beardsley 2013). Napoleon even commissioned a statue of Vercingetorix, in the belief that he fought for independence in the same way that France was still fighting for it at that time. For this reason, Vercingetorix is a folk hero in French culture, revered for his dedication to his country. Dorfmann goes out of his way to avoid casting even the slightest shadow on Vercingetorix’s reputation, ignoring the harsh punishments alleged in De Bello Gallico, including torture and execution. Instead he passes these atrocities on to the Romans and Germans, both of whom the film depicts as marauding brutes intent on preventing Gallic freedom. Dorfmann’s Vercingetorix is kind, compassionate and dedicated,
Many of the actors cast in Druids are either virtually unknown or are not known for being in highly regarded movies. For example, the star of the film, Christopher Lambert, is perhaps best known for starring in the Highlander film series, which has always been a critical failure despite its cult following. His performance in Druids is devoid of the power that one would expect from Vercingetorix. Though the young Vercingetorix boasts that his name means “king of great warriors,” Lambert’s Vercingetorix never seems to assert himself. Rather, he allows the soldiers to pressure him into making rash decisions, most notably the Battle of Alesia. Had Vercingetorix refused to attack, the Romans would have starved to death; he chose to listen to his men, though, leading to the annihilation of the Gauls.
Perhaps the most famous actor in the movie is Max von Sydow, who previously appeared in critically acclaimed films such as The Greatest Story Ever Told (1965) and The Exorcist (1973), as well as playing Ernst Stavro Blofeld in the James Bond film Never Say Never Again (1983). He remains influential even today, having been cast in HBO’s extremely popular series Game of Thrones as the Three-eyed Raven, a powerful clairvoyant. His appearance in Druids as the arch-Druid Guttuart is almost painful to watch, as the character is limited to prophecies that are meant to sound deep and foreboding, but in actuality have little to no substance. In fact, his character is so bad, and appears so infrequently in the film, that Chris Parry of efilmcritic.com “wondered to [himself] if maybe [von Sydow] had died before the end of the shoot” (Parry, efilmcritic.com). Perhaps the strangest casting choice of all is Klaus Maria Brandauer as Julius Caesar, who is effectively the main villain of the film. He, like Max von Sydow, appeared in Never Say Never Again (1983) where he played Maximillian Largo, the main villain. In that film, Roger Ebert thought Brandauer was “a wonderful actor, and he chooses not to play the villain as a cliché. Instead, he brings a certain poignancy and charm to Largo” (Ebert 1983). This high praise from one of the most well-known film critics of all time offers definitive proof that he is able to play a villain role well; in Druids, however, he has no real motivation for wanting to conquer Gaul other than simply being able to do so. Furthermore, the choice of a German actor turns Caesar into a German, which is blatantly historically inaccurate. Dorfmann may have had an ulterior motive behind choosing a German actor to play Caesar, however, as his German accent may remind some viewers of Adolf Hitler, thus making Caesar seem even more evil.
Themes and Interpretations
In my opinion, the most prevalent theme in Druids is the unwavering character of Vercingetorix. From the time he is crowned king of the Gauls, to the moment of his capture his loyalty to the Gallic people stands, he puts the good of the state before his own personal benefit. The scene in which Vercingetorix throws down his arms, the lowest point of his life, shows him accepting his punishment yet defiant of Roman ideals, mirroring Lionel Royer’s painting Vercingetorix Throws Down his Arms at the Feet of Julius Caesar (1899). In this painting, Vercingetorix holds his head high and throws his weapons at Caesar’s feet with disdain, while Caesar watches from his throne with disgust. Though he is defeated, he does not show any signs of sadness. Rather, he remains defiant to the end, a symbol to the Gallic people that the Romans can never truly conquer Gaul. The film, though it gives a different visual portrayal of the scene, conveys the same message. In the film, while kneeling at Caesar’s feet, Vercingetorix tells Caesar that what he has witnessed is only the start of a conflict that will last for years to come. Though he may die, others will take his place, and Gaul will continue to fight for freedom from the Roman Empire.
In my opinion, the film deserves all of the harsh criticism it has received in the years since its release. It attempts to be a serious film, but is too full of non-sequiturs to be taken as seriously as it wishes. These problems are in full view from the very beginning of the film, which depicts a Gallic religious ceremony. During this scene, priests walk around a fire and instead of wearing historically accurate clothing, they are clad in white robes and hoods, making them look scarily similar to a Ku Klux Klan rally. It remains possible not to laugh at the film for roughly the next seven minutes, until the meeting of Gallic chieftains, which takes place in an enormous underground cavern that appears to have been taken directly from The Lord of the Rings. The film continues relatively free of laughable errors until the scene where Vercingetorix and his followers slaughter the Romans in Gergovia. Here, one of the extras killed during the scene is wearing jeans and a t-shirt. Later, at the battle of Gergovia, the Romans form a testudo. A Roman cavalryman rides past the formation, and his horse clips a shield with an audible thud (00:53:15). Because of this, the soldier almost drops his shield, and his hand reaches out at the last moment to put it back in position. I had to watch three or four times to make sure that I had just seen what I thought I saw. Afterwards, with no explanation whatsoever, the Gallic soldiers bafflingly start throwing chickens over the walls (00:54:36), while the women flash the Romans, tactics that were neither previously discussed, nor talked about afterwards.
Before the Battle of Alesia, a scene occurs that has absolutely no connection to any of the events in the film. Vercingetorix is shown playing a game with a small child, whom he accuses of cheating; this leads to his wife, Epona, giving him a lecture on why the rules don’t matter, before he sees some deeper meaning in her words (1:47:12). Finally, when Vercingetorix surrenders himself to Caesar, his son rides with him on the same horse. However, after Vercingetorix enters the camp, his son is left outside, seemingly stranded with no way to get back home, as he is not yet competent at horse riding, making it seem as if Vercingetorix has just doomed his heir. These bizarre errors, as well as many others, completely change the tone of the film, taking it from a serious historical epic to a second rate unintentional comedy.
Another heavy source of criticism for Druids is the shocking lack of historical accuracy, which ranges from mistakes in the portrayal of characters, their actions and motivations, to major errors in depictions of equipment used in the film. For example, Caesar is portrayed as a subpar tactician, stating that he would stay camped outside Alesia until either his men starved to death or emerged victorious. In actuality, while Caesar did realize the danger of starvation once the Gauls had “cut them [the Romans] off from a supply of provisions” (Caesar, 7.56), the Romans were never in any real danger of starvation, as Caesar “found a path, suitable for those things which were necessary” (Caesar, 7.56), which allowed the Romans to continue provisioning their entire camp. Furthermore, the film claims that Caesar enlisted the help of the Teutons to win the Battle of Alesia. He was far less dependent on German reinforcements than the film shows, though, mostly using them to augment “the courage of our men” (Caesar, 7.70) when they began to be overwhelmed by the sheer number of Gauls.
Vercingetorix’s motivations are completely misrepresented. While he did hate the Romans, the film claims he felt this way because the Romans orchestrated the conspiracy which killed his father. In reality, he simply wanted the Romans to leave Gaul. Finally, much of the equipment depicted in Druids is completely anachronistic. One of the major errors is the fact that “The type of armor being used by the Romans is the Lorica Segmentata, which was not introduced until fifty years later, and even then was never in such widespread use” (imdb.org n.d.). Additionally, all the horses are equipped with stirrups, which did not appear in Europe until at least seven hundred years after the events of the film. Finally, while Caesar makes note of the Gauls’ fairly advanced technology, especially relating to their walls, none of this is present in Druids, which instead shows the Gauls as technologically impaired, possibly to make their chances of winning seem even lower. With these blatant misrepresentations of equipment and technology, the film is quite clearly one of the least historically accurate films depicting the conquests of the ancient Romans.
Overall, Druids can only be described as being an incomprehensibly bad film. It is full of errors and plot holes, the most notable one being when it simply forgets to name one of the major characters, despite the fact that she constantly trains and mentors Vercingetorix. The historical accuracy is subpar at best, as equipment, technology, and characters are constantly misrepresented in the hope of making the action more cinematically friendly. The film contains a perplexing number of errors made by actors that could have been easily fixed by reshoots, but puzzlingly remain in the film. Individually the historical inaccuracies, bizarre mistakes, and incoherent plot could possibly be forgiven, but when added together, they make for a film that can’t decide if it wants to be a serious historical drama or a lowbrow action film. Without a clear vision, the director created a truly awful combination of the two genres. These flaws, in my opinion, show that Druids truly does deserve its title as one of the worst French films ever made. It started with a grand vision, but something went wrong between the film’s conception and release, resulting in a film so bad that it is almost impossible to watch in one sitting.
(Header Image: Detail of Statue of Vercingetorix. Aimé Millet (1865). Mt. Auxois, near Alise-Sainte-Reine, France. Photo by Jochen Jahnke via Wikimedia Commons. Public Domain.)
Bibliography
Druids (aka The Gaul, aka Vercingétorix). Dir. Jacques Dorfmann. Perf. Christopher Lambert, Klaus Maria Brandauer, and Max von Sydow. Centre National de la Cinématographie (CNC), et al. 2001.
Beardsley, Eleanor. “How Gaul-ing! Celebrating France’s First Resistance Fighter.” NPR.org. Web.
Caesar, Julius and Aulus Hirtius. The Gallic War. trans. Carolyn J.-B. Hammond. Oxford: Oxford UP, 2008. Print.
Ebert, Roger. “Movie Review: Never Say Never Again.” RogerEbert.com. Web.
Parry, Chris. “Movie Review: Druids.” Efilmcritic.com. 15 Sept. 2002. Efilmcritic.com. Web. 4 May 2016.
Hollywood and History is an on-going series featuring the original work of students in the course Ancient Worlds on Film. Papers have been slightly edited for publication.
by Benjamin Fleming
PLOT SUMMARY
In AD 117, Rome controlled most of the known world, but it could not control everything. Rome’s frontiers were hotbeds of uprisings and rebellions that could only be snuffed out by the full might of the Roman military. It is in this harsh climate that the movie Centurion (2010) is set. The film opens a harsh and foreboding landscape of crags and ice-covered valleys. Slowly it focuses on a lone figure running for his life, stumbling along the snowy mountaintop. The story is told in retrospect by the main character and opens with his narration, “My name is Quintus Dias, I am a soldier of Rome, and this is neither the beginning nor the end of my story,” before flashing back two weeks (Centurion 3:00-3:57). Centurion Quintus Dias (Michael Fassbender) was stationed at the Roman outpost of Inch-Tuth-Il, located in modern Scotland, when a Pict war-band attacked the outpost under the cover of darkness. The unprepared legionaries were massacred, save for Centurion Dias (Centurion 3:58-6:50).
Around this time, the general of the Legio IX Hispania stationed at York, Titus Flavius Virilus (Dominic West), receives a dispatch from Governor Julius Agricola (Paul Freeman) ordering the 9th Legion to prepare for war (Centurion 6:51-10:02). Dias, meanwhile had been taken to a Pict village. There he is tortured and interrogated by the Pict King Gorlacon (Ulrich Thomsen) for information on Roman troop movements (Centurion 10:05-11:46). As Dias is being tortured, General Virilus is meeting with Governor Agricola who outlines the plans for the mission. Rome is on the verge pulling forces out of Britain and he is looking to make one final attempt to conquer the north before those orders arrive. Doing so, he argues, would bring wealth, fame, and honor to them all; despite this appeal, General Virilus states, “My men have honor enough.” Agricola threateningly responds, “Enough to disobey a direct order?” General Virilus gives in to Agricola and is detailed a local tracker named Etain (Olga Kurylenko) to lead the legion to Gorlacon (Centurion 11:50-14:00).
As the legion moves out, Dias escapes and attempts to make it back to Roman territory; on the way he meets up with the legion. Since Dias has just escaped Gorlacon, General Virilus asks him to lead them back to the village from which he escaped (Centurion 14:30-21:25). Unknown to the general, Etain is a double agent for the Picts. She leads the legion into an ambush in the forest where General Virilus is captured and only seven men escape with their lives: Quintus Dias, Thax (JJ Field), Bothos (David Morrissey), Brick (Liam Cunningham), Leonidas (Dimitri Leonidas), and Tarax (Riz Ahmed). As the survivors survey the dead, Dias speaks to the audience as narrator, “In the chaos of battle… it is easy to turn to the gods for salvation, but it is soldiers who do the fighting and soldiers who do the dying, and the gods never get their feet wet” (Centurion 22:30-29:13).
Because of honor and duty, the survivors set off to try to rescue the General from the grasp of Gorlacon. Arriving at night, they sneak into the village and try to break the General out of his chains, but fail, due to a war-band returning. During their retreat from the village, Thax unknowingly kills Gorlacon’s son (Centurion 30:00-35:00). The Romans are pursued by trackers led by Etain; knowing they will die unless they make it back to Roman lines, they attempt to lose the following Picts (Centurion 44:00-55:30). As they run, Dias explains to the audience, “My father taught me that in life, duty and honor matter above all things, a man without his word is no better than a beast. I made a promise to the general to get his soldiers home; that is my task; that is my duty” (Centurion 51:00-52:00). Eventually, the trackers catch up to the fugitives along a cliff face. The Romans all jump off into a river below, save for Tarax, who is killed. Jumping into the river, though, causes them to be separated into two groups: Bothos, Dias, Brick, and Leonidas in one, and Macros and Thax in the other. Macros and Thax are chased by wolves, until Thax sacrifices Macros to save himself. Meanwhile, Dias’s group is harassed by the trackers. Bric and Dias attack the trackers camp killing all the trackers there in an attempt to even the odds; however, the Romans later learn some of the trackers led by Etain attacked their camp at the same, leading to the death of Leonidas (Centurion 55:40-1:04:00).
Continuing to run, Dias, Brick, and Bothos stumble on the house of a “Necromancer,” named Arianne (Imogen Poots), who houses them, treats their wounds, and hides them from Etain (Centurion 1:04:04-1:16:30). After resting up, the three set out for a nearby Roman outpost. Once they reach it, they find it abandoned with a notice that Emperor Hadrian has ordered a new defensive line to be formed south of the outpost. Knowing they cannot run from Etain any longer, they set up defensively inside the fort and wait for her now small force to attack. When they do, the Romans manage to kill the Picts, including Etain, though Brick dies during the fighting (Centurion 1:17:10-1:24:40).
Finally, after weeks on the run the soldiers near Roman territory. As they approach, they run into Thax and he rejoins them. Nearing an under-construction wall, Thax and Dias get into a fight, where Dias kills Thax, because Dias realized what Thax had done to Macros. While this is happening, Bothos over-eagerly makes for the wall and is mistakenly identified as a Pict and shot dead (Centurion 1:25:00-1:30:27). As the only survivor, Quintus Dias is escorted to Governor Agricola to be debriefed. Explaining what happened, Dias is congratulated by Agricola as a hero, but after he leaves the room Agricola’s daughter Druzilla (Rachael Stirling) turns to Agricola and says “We cannot return to Rome in disgrace, better that the fate of a legion remain a mystery than for their failure to be known.” Agricola, immediately agrees with her and takes it one further, “If word gets out, every nation would rise against us.” He has his daughter arrange Dias’s death (Centurion 1:30:30-1:31:36). Quintus sees it coming though; killing his assailants he escapes to the wilds where he returns to Arianne to live out his days (Centurion 1:31:39-1:33:11). In a parallel to the beginning, the story ends with it snowing and Quintus Dias announcing, “My name is Quintus Dias, I am a fugitive of Rome and this is neither the beginning nor the end of my story” (Centurion 1:33:11-1:33:25).
ANCIENT BACKGROUND
This film is about the disappearance of the Legio IX Hispana (the Ninth) in the wilds of Britain. This legend has captivated minds since around 1732, when John Horsley’s Britannia Romana: The Roman Antiquities of Britain was published. In it, Horsley used Roman records to identify the Roman legions stationed in Britain, noting the disappearance of the Ninth from records between the time of Tacitus and the reign of Hadrian (Manea). One of the reasons the disappearance from the records is baffling, is because the Legio IX Hispana was a famous and elite Roman legion created by Pompey and put into service by Julius Caesar (Lendering). Since Horsley published there has been an ongoing scholarly debate about the fate of the Ninth. Dr. Miles Russell, senior lecturer in Prehistoric and Roman Archaeology at Bournemouth University, contends that the Ninth was wiped out. He cites three pieces of evidence that a disaster of some kind occurred in Britain around AD 118. First, the Roman writer Fronto commented on the large number of Roman soldiers killed in Britain during Emperor Hadrian’s reign in a letter to Marcus Aurelius, indicating some type of heavy fighting. Second, there is a tombstone from Ferentinum, Italy, that describes “emergency reinforcements of over 3,000 men [that] were rushed to the island on ‘the British Expedition’,” early in Hadrian’s reign. His last piece of evidence is that when Hadrian visited Britain, “to correct many faults,” around AD 122, he brought with him the Sixth legion (Legio VI), which was stationed at York (York was the Ninth’s was last documented posting in AD 108). To Dr. Russel, the Sixth’s move to York implies a replacement or replenishing of the Ninth. Evidence against this was discovered by archaeologists in 1959. Archaeologists found stamped bricks in Germania dating to after the supposed destruction of the legion around AD 118 (Manea). This discovery gave credence to the argument that the legion was not destroyed in Britain, but was relocated to other parts of the empire. Without written records of troop transfers, it is difficult to confirm conclusively one way or the other.
It is within this ambiguity that the story of Centurion exists. When asked why he decided to write about the destruction of the Ninth, even without actual proof, director Neil Marshall replied that, though modern historians tend not to believe the Ninth was destroyed, “I like the myth and I stuck with that” (“Centurion- Neil”). In writing the story Marshall took lots of creative license. One major example is the anachronism of including Governor Agricola. Agricola died in AD 93, almost 24 years earlier (Tacitus l). The real governor of Britain at the time most likely would have been either Marcus Appius Bradua or Quintus Pompeius Falco (Everitt 185, 216). Marshall’s stated inspiration in creating the script was that, “I’d really like to know what could’ve potentially happened to them if this [legend] was real” (Zimmerman). The inclusion of Agricola would at first seem counter-productive, but if one looks at how the addition fits contextually, the move begins to make sense.
The legend of the Ninth states that it was ordered north to put an end to raiding in the Caledonia region of northern Britain. This situation parallels the sixth year of Agricola’s governorship as described by Tacitus. During that year, Agricola faced an uprising centered in Caledonia, and moved his army north to combat them. At one point, a large force of Britons surprised the Ninth legion at night, causing severe losses within the legion (Tacitus 25-26.3). In essence, to create a realistic set of events, Marshall took a similar, factual occurrence and placed it within the confines of the legend, trimming the actual event to mesh with the myth.
The film also takes license with Agricola’s his character. In Centurion, Agricola is concerned with gaining fame and creating a long-lasting legacy. This is seen explicitly during his conversation with General Virilus about mobilizing the Ninth (in which he admits that he wants to be the orchestrator of the final conquest of Britain) and at the end when he fears for his legacy and tries to have Quintus Dias silenced (Centurion 6:51-10:02 and 1:30:30-1:31:36). Tacitus’s Agricola presents the governor in almost complete contrast to the film. Tacitus summarizes his view of Agricola’s character as living a “style of life [that] was modest…. As a result, most people, who always measure great men by their display, when they saw or noticed Agricola, asked why he was famous” (Tacitus 41.4). He “did not exploit his success to glorify himself… he disguised his fame…” (Tacitus 18.7). The difference in characterization can be attributed to the role of Agricola in each situation. For Tacitus, Agricola was his father-in-law, so emphasizing Agricola’s virtues was not only a facet of the medium of biography, but also beneficial to himself and his legacy. In Centurion, Agricola was needed to represent the corruption of politicians who use soldiers as pawns to advance themselves.
Another opportunity for artistic license was the depiction of the northern Britons. The tribes of northern Briton are difficult to recreate due to the lack of archaeological evidence about them. The northern Britons are called Picts in the film and they speak Scots Gaelic (Holden), but “Picts aren’t identified in the historical record until AD297, when they crop up in a panegyric by the Roman orator Eumenius,” (Tunzelman) and historians do not know the language the northerly Britons spoke. It would have been most accurate to call the northern people Caledones, after the people referenced in Tacitus, but historians still know no more about them. The only contemporary description is a generalization of all Britons by Tacitus who described them as being more ferocious than their Gaulish counterparts, yet able to be very obedient, but still refusing to be slaves. As for their military and governmental structure, “their infantry is their main strength” and “they are formed into factional groupings by the leading men” (Tacitus 12.1) Interestingly, “they even do not distinguish between the sexes when choosing commanders” (Tacitus 16.1). Even though they are called Picts, the film manages to capture these traits, specifically in Etain’s character—who obeys the Romans for a time but will not be a puppet to destroy her own people— and in how the Pict hunters follow her unquestioningly.
One of the most accurate aspects of the entire movie is its depiction of the mood of Rome towards the frontiers, including Britain. Governor Agricola comments at one point that Rome is beginning to pull out of Britain and it is later shown in the notice found by Quintus Dias in the abandoned outpost (Centurion 6:51-10:02 and 1:17:10-1:18:00). This mood of creating a more defensible frontier at the loss of some land was strong within the Roman Empire around AD 117 as Hadrian ascended to the throne. Hadrian began to put into a practice a strategy called “imperial containment” that limited the size of the empire, gave up indefensible territory, and created defensible frontiers as shown by Hadrian’s Wall (Everitt xxiii and 224-225).
MAKING THE MOVIE
Director Neil Marshall has gone on record saying that the film Centurion was 10 years in the making. One night he “was sitting in a bar with a mate of [his] and having a few drinks… and [his friend] mentioned to [him] this legend that he’d heard of, of the Ninth legion of Rome –
this entire legion of Roman soldiers that marched into Scotland in 117 AD and vanished without a trace…. I was instantly hooked. I thought, ‘This is going to make a great movie’” (Zimmerman). The next couple of years saw him working on the script. Originally, he considered a sort of supernatural, fantastic element but decided to keep it grounded in history. According to Marshall, “I came up with this whole story based on what might have actually happened to the Romans… and then actually, it’s the Romans that create the myth as a cover-up for their own screw-up” (Zimmerman).
As the script started to solidify, action star Michael Fassbender became attached to the movie which led to the casting of Dominic West and Olga Kurylenko; Dominic West was approached specifically because of his larger than life presence, needed to fulfill the role of a Roman General, while Olga Kurylenko had recently impressed Marshall with her stunt work as the bond girl for Quantum of Solace (2008) (Eisenberg). With the characters cast, Neil Marshall hired DRS Construction to help build sets designed by Simon Bowles (“Feature Film-Centurion”) and prepared to shoot on location in the Cairngorm Mountains, Badenoch and Strathspey in Scotland, and in Hurtwood Forest, Pinewood Studios, Ealing Studios, and Shepperton Studios in England. To help create the dark and dirty sense of war and to create the feeling of desperation and long odds, the film was shot on location or used practical effects, forgoing the popular use of green screen (“Centurion.” Imdb.com). Director Marshall admitted, “Maybe about 90 percent of the gore effects in it are practical and on-set. Unlike a lot of other directors, I don’t like to leave that stuff until the end of the day, unless I absolutely have to” (Zimmerman). Over 200 liters of fake blood were used during the duration of the shoot (Imdb.com).
Given the green light to begin shooting by its production companies (Pathè Pictures International, the UK Film Council, and Warner Bros.), Centurion was given a $12 million budget (“Centurion.” Imdb.com) and seven weeks to shoot. These constraints are unusual for movies of the sword-and-sandal genre. Normally they are given huge budgets and a long shooting schedule; for example, Gladiator (2001) had a budget of $103 million and was shot over a period of 18 weeks (“Gladiator.” Imdb.com). Zimmerman also states, “for Braveheart, Mel Gibson had six weeks to shoot one battle. We had seven weeks to shoot our entire film. We had like three days to shoot our big battle.”
Finally, to tie everything together, Ilan Eshkeri was hired to produce the soundtrack. Before writing the music, Eshkeri spent time listening to Celtic folk music from all over northern Britain, and drew on it heavily as his influence, even going as far as incorporating Scottish instruments such as the carnyx and the bodhràn. To produce the music, he had the London Metropolitan Orchestra record at Abbey Road Studios (“Centurion”). This combination creates a full epic sound very typical of films in the sword-and-sandal genre.
THEMES AND INTERPRETATIONS
Even though in other aspects of the film, director Neil Marshall went out of his way to set Centurion apart from other sword-and-sandals action movies, thematically it is very generic with one exception. Like many other sword-and-sandals movies the first major theme of the film is that of one’s duty to others and personal honor. Honor is defined by commitment to a cause and keeping one’s word, while duty is carrying out one’s word. It is this simple idea that drives the plot forward. After the massacre of the Ninth, Quintus Dias convinces the survivors to travel north to save the general because it is their duty to the legion and to Rome to try to rescue the General (Centurion 28:40). Later, when the fugitives are on the run due to their failed rescue attempt, Dias remembers his father’s words that honor and duty is what sets man apart from a beast (Centurion 51:00-52:00). This idea can be readily seen in the movie The Eagle, which is also about the disappearance of the Ninth Legion. In The Eagle (2011), the main character Marcus Aquila (Channing Tatum), crosses into the north to reclaim the standard of the Ninth legion and restore his family’s honor, which was damaged when his father lost the eagle. The idea of honor is possibly such a common trope for these types of movies because it is a way to legitimize violence. Violence is brutal and ugly, inflicting terrible emotional and psychological damage. Sword-and-sandal movies feed off this violence, but if the movie cannot justify it, the audience will reject it. Therefore, having characters fight to restore their family, to protect their families, or to right an injustice causes the audience to sympathize with the hero, giving the directors the ability to drive the story through violence.
The other major theme of Centurion is the idea that there is no such thing as a black-and white-war; it is always shades of gray. The two main sides in the movie are the invading Romans and the raiding Picts. The story is told from the Roman perspective; from this perspective the Picts are the enemy and they are savage, uncivilized barbarians who threaten civilized society. In truth, the Picts are justified in defending their homeland, though they are not portrayed as all good either since they pillage and kill innocents at will. Neil Marshall feels “that war is not as cut and dry as good guys and bad guys. There are heroes and villains on both sides. Both sides are capable of that kind of brutality” (Zimmerman). This is seen in the main protagonist of the film, Quintus Dias. Though he is part of the invading army, he is fighting not because he enjoys killing Picts, but to protect the settlements south of his posts. He is a man who is driven by the need to do his duty and defend his friends. In essence the film is about a man trying to survive in a world of with no clear right or wrong choices.
A unique trait of Centurion is its theme of women being both powerful adversaries and saviors. Normally, in sword-and-sandal movies, women play a secondary role—supporting men, defending a man, or plotting behind the scenes. For example, Varinia in Spartacus (1960) is there to motivate and validate Spartacus and to look pretty, but little else. Queen Gorgo in 300 (2006), is the rare exception of a strong-willed woman in this type of movie, but even she only factors into the plot on occasion, and only to defend Leonidas’s beliefs when he is gone. The two female characters in Centurion defy this established role for women in sword-and-sandal movies. Etain is a warrior greater than many men with skills unmatched by others. She has the ability to lead men unquestioned (Centurion 1:17:10-1:24:40). Arriane on the other hand is able to live alone, takes care of herself, stands her ground against a hunting party, and acts as a savior to Dias and his remaining friends (Centurion 1:04:04-1:16:30). This stylistic change is partially a reflection of the modern times, as well as a representation of a society (Picts/Caledones) that values women more than is normal in these epics.
Another way this film breaks the mold of typical sword-and-sandal movies is in its color scheme. “The director of photography, Sam McCurdy, and I discussed it for a long, long time. We wanted this to be a cold movie. We filmed it in cold conditions and it’s a very cold movie as part of being the flipside of what everybody expects in a sword-and-sandals film. When I think of sword-and-sandals movies, I’m thinking deserts and the Middle East and sun and dust and all that kind of stuff. With this one, it’s like, ‘Yes, it is a sword-and-sandals movie. Yes, it’s about the Romans, but it’s in their farthest, grimmest, coldest, wettest frontier. It has to have a totally different feel about it.’ And so we wanted it to have this steely blue feel to the whole thing and make the audience sense what they were going through; the shivers and the chattering teeth and breath, that’s all real as we filmed it in subzero temperatures. In order to help the audience really sense that, we gave just a little of a blue tint to it. It just makes it feel a little colder” (Zimmerman). This cold and icy feel fits into the horror elements incorporated into the film. The horror aspects of gore and an almost supernatural stalker help to heighten the sense of peril, and futileness of the fugitives in the vast wilderness of the north.
CONCLUSION
In comparison to other sword-and-sandal movies, Centurion both succeeds and fails. There is no denying that it has a thin plot that hinges on roughly only two points (the massacre of the Ninth and surviving behind enemy lines), and it pales in this regard next to the greats of the genre like Gladiator or Spartacus; but, it is on par with is close counterpart The Eagle. The other major failing of the movie is its characterization or lack thereof. Other than Quintus Dias and Thax, it is easy to mix-up the other remaining characters. If the characters were left nameless, it would change little to the story. In a way this is akin to the horrendous King Arthur (2004), in which the knights are named but if someone switched their names or changed them completely it would do nothing to the story. These failures lead to a lack of depth in the movie, but it does not greatly affect it because the film does not try make its audience believe it is deep. The movie’s intention is to tell the story of what happened to the Ninth Legion, and why they disappeared from the records; the characters are there to facilitate this and nothing more.
Centurion’s successes, I feel, far outweigh these failures. The film does a great job presenting through its large, cold, and gorgeous vistas of mountainous crags and never ending forest, the desperation of soldiers behind enemy lines in an unknown land. It also succeeds in giving a satisfying explanation as to why the Ninth Legion disappears from the records by making it the result of a cover-up by corrupt politicians. My favorite parts of the movie, though were the fight sequences with their practical effects. The gore is at times over the top, but it helps the audience really feel the utter horror of being in the middle of a battle in hand-to-hand combat. Finally, this movie deserves a lot of respect for accomplishing all of this on a budget almost unheard of for action-adventure epics, with a shockingly short filming schedule.
(Header Image: A stone inscription from York referencing the Legio IX Hispania, 108 AD. Photograph by: York Museums Trust Staff. York Museums Trust. Licensed under CC BY-SA 4.0.)
Works Cited
Centurion. Dir. Neil Marshall. Perf. Michael Fassbender, Dominic West, and Olga Kueylenko. Warner Bros., 2010. Film.
“Centurion (Ilan Eshkeri).” MovieScoreMedia.com. MovieScore Media Sweden. Web. Accessed 3 May 2016.
“Centurion.” Imdb.com. Amazon.com Company. Web. 3 May 2016.
“Centurion- Neil Marshall Interview.” IndieLondon.co.uk. IndieLongdon.co.uk. Web. 3 May 2016.
The Eagle. Dir. Kevin Macdonald. Perf. Channing Tatum, Jamie Bell, and Donald Sutherland. Focus Feature, 2011. Film
Eisenberg, Mike. “Interview With ‘Centrion’ Director Neil Marshall & Axelle Carolyn.” Screenrant.com. Screen Rant. 22 August 2010. Web. Accessed 3 May 2016.
Everitt, Anthony. Hadrian and the Triumph of Rome. New York: Random House Publishing. 2009. Print.
“Feature films- Centurion.” DRSConstruction.co.uk. DRS Construction. 2015. Web. Accessed 3 May 2016.
“Gladiator.” Imdb.com. Amazon.com Company. Web. Accessed 3 May 2016.
Holden, Stephen. “Two Vastly Different Enemies share a Common Thirst for Blood.” NYTimes.com. The New York Times. 26 August 2010. Web. Accessed 3 May 2016.
Lendering, Jona. “Legio VIIII Hispana.” Livius.org. Livius.org. 5 August 2015. Web. Accessed 3 May 2016.
Manea, Irina-Maria. “The Enigma of the Ninth Legion.” Historia.ro. Adevărul Holding, 2014. Web. Accessed 3 May 2016.
Russel, Dr. Miles. “The Roman Ninth Legion’s mysterious loss.” Bbc.com. BBC. 16 March 2011. Web. Accessed 3 May 2016.
Tacitus. Agricola. Trans. A.R. Birley. New York: Oxford University Press, Inc., 1999. Print.
Tunzelmann, Alex von. “Centurion has a familiar ring about it, but it’s not because it sticks to the facts.” TheGuardian.com. Guardian News and Media Limited. 19 April 2012. Web. Accessed 3 May 2016.
Zimmerman, Samuel. “Fangoria Interview: ‘Centurion’: Marshall-ing Forces.” MichaelFassbender.org. MichaelFassbender.org. 27 August 2010. Web. Accessed 3 May 2016.
Hollywood and History is an on-going series featuring the original work of students in the course Ancient Worlds on Film. Papers have been slightly edited for publication.
By Eleanor Kaestner
Plot Outline
The film Cleopatra begins in 48 B.C. at the close of the civil war for control of the Roman Republic. Julius Caesar (Rex Harrison) has defeated Pompey in the battle of Pharsalus, which ended the war. Caesar learns that Pompey has fled to Egypt in hopes of gaining support from Pharaoh Ptolemy XIII (Richard O’Sullivan) and his sister Cleopatra (Elizabeth Taylor). In response, Caesar sends his trusted military advisor Mark Antony (Richard Burton) to Rome, while he goes to Egypt in search of Pompey.
When Caesar arrives in Alexandria, the capital of Egypt at that time, there is a citywide market occurring; in order not to look intrusive, Caesar instructs his men to go marketing. This was one of Caesar’s tactics in gaining the trust of the Egyptian people, before he exercised his power. Caesar learns that Ptolemy, no longer wishing to share the throne with his sister Cleopatra, drove her away from Alexandria and seeks to destroy her. He approaches Ptolemy saying that he came to Egypt as executor of the will of Ptolemy Auletes, the father of the current pharaoh. According to Caesar, he was directed by the will to keep peace between the joint rulers of Egypt, Cleopatra and Ptolemy. During this encounter, Ptolemy presents to Caesar Pompey’s head and his ring, in an attempt at showing his appreciation for Rome. Although Caesar had been looking for Pompey, he did not wish for him to be murdered. Caesar, in testament to his character, asks for the rest of Pompey’s body to be found and buried honorably.
Once settled in the palace, Caesar receives a package, in the form of a rolled-up rug, which was said to be from Cleopatra. When he unrolls this, Cleopatra is revealed inside having used the rug to sneak into the palace. The young Cleopatra charms Caesar with her beauty, standing her ground and projecting her power as queen while talking to him. She teases Caesar by pointing out his out-of-date maps, showing that even though she is a woman, she is educated and can lead the country just as well as a man. Cleopatra describes her desire to be sole ruler of Egypt; in a bid for Caesar’s support she claims that “Roman greatness is built upon Egyptian riches,” implying she will pay him for his support. Throughout Caesar’s stay, Cleopatra continues her seduction of him, inviting him in while she is getting massaged and taking a bath.
When Cleopatra warns Caesar that Ptolemy XIII has surrounded the palace with the armies of Achillas, Caesar orders the Egyptian fleet to be burned so that he can gain control of the harbor. The fire spreads and burns the library of Alexandria angering Cleopatra because she thought so highly of the knowledge the books contained. She blames Caesar and, during their fight, Cleopatra and Caesar kiss, officially beginning their romance.
Mithridates of Pergamum arrives the next day and relieves the siege merely by the presence of his forces. Caesar holds a meeting with Ptolemy XIII and his chamberlain to discuss the previous attacks; he charges the lord chamberlain with inviting and abetting war against Rome and with the assassination attempt on Cleopatra. Ultimately, the chamberlain is sentenced to death, Ptolemy is removed from the protection of Rome and sent out of the palace to join his troops. This punishment held the possibility of death because Caesar’s army and that of Mithridates were still fighting Ptolemy’s troops.
Caesar crowns Cleopatra as queen of Egypt in 47 BC and she tells him that she dreams of ruling the world with him. When Caesar is declared dictator of Egypt for a year, he trusts Mark Antony to take care of Rome while he stays in Egypt. Caesar and Cleopatra have a son during this time, Caesarion, who is accepted publically and said to carry on Caesar’s legacy, although the people of Egypt believe the marriage was a political alliance, not because of love.
Caesar returns home to Rome, and the Roman people and senate do not like the idea of calling Caesar “dictator” because it reminds them too much of the title of king. When Egypt is named an official ally of Rome, Cleopatra and Caesarion come to the city. It has been two years since the couple has seen each other, but Caesar puts on a large ceremony and gathering for their grand arrival. Cleopatra is admired by the Roman people, and Antony says, “The Queen has conquered the people of Rome.”
The senate is still discontented with Caesar especially when he proclaims “I must be the law, and my word must be the welfare of Rome… you will appoint me emperor of the throne” which results in fighting between the senate and Caesar over policies and laws. The night before the Ides of March in 44 BC, the senate tells Brutus (Kenneth Haigh) he must “save Rome from Caesar.” The senate says they will call Caesar “king” everywhere except for the city of Rome. Caesar while talking to Cleopatra about the strife in the senate, responds that “I have never before settled for half a victory.” He says that, as dictator, he recently appointed senators who will be on his side for voting. However, the same night the senate plots to kill Caesar. The next morning Calpurnia (Gwen Watford), Caesar’s wife, dreams that he has been murdered, and Cleopatra is nervous about him going to the senate. Despite this Caesar goes and is murdered by the senate. His body is burned in a bonfire in front of the senate building attracting a large crowd of people. That evening, Cleopatra and Caesarion leave Rome by ship, Antony seeing them off.
For more than two years after Caesar’s death, Antony sought the assassins. At Philippi, he and Octavian (Roddy McDowell), Caesar’s nephew and adopted heir, finally defeat them. Antony, Octavian, and Lepidus decide to continue functioning as a triumvirate. Lepidus would have Africa, and the islands, Octavian would get Spain and Gaul, and Antony would have “all the rest” presumably the east. The three of them would jointly deal with Rome and Italy.
Antony began his reign in Asia Minor, but was informed that he would need supplies, food, and money from Egypt. Apprehensive about asking Cleopatra for help, Antony summons her. She arrives on a magnificent barge in Tarsus, however, she only agrees to meet with Antony on “Egyptian soil” better known as her ship. She holds a lavish banquet while wearing a necklace made of coins with Caesar on them, which Antony asks her about. After a night of Egyptian entertainment and a large feast, Antony follows Cleopatra back to her room and proclaims his love for her. He tells her how he always has been “one step behind Caesar, at the right hand of Caesar, in the shadow of Caesar . . . ” After this he rips off the coin necklace, and they become lovers.
Meanwhile, Octavian tells the senate that Antony has fallen under the influence of Cleopatra, threatening Roman control of Egypt. Octavian refers to himself as Caesar, and claims Caesar’s legacy, which threatens the supporters of Antony. Cleopatra hears of this and urges Antony to return to Rome and resolve his issues with Octavian. During his meeting with Octavian in Brundisium, Antony agrees to marry Octavian’s sister Octavia (Jean Marsh), to show the Roman people that he has not abandoned them, and to secure the alliance between Rome and Egypt. When Cleopatra hears news of this marriage of state, she becomes outraged and devastated. Antony however does not love Octavia, and becomes bored in her company; he tries sending envoys to Cleopatra, but they are blocked. Antony goes to see Cleopatra in person, and she makes him kneel before her in front of a public audience. Cleopatra says that Antony must cede to Egypt a third of the Roman Empire to seal a treaty between Egypt and Rome. Antony proclaims that “I only have one master, my love for you” and surrenders to Cleopatra. She responds that Antony must marry her under Egyptian ritual, declare Caesarion to be king of Egypt, and then together they will rule in Caesarion’s name until he is of age.
In Rome, Octavian convenes the senate and tells them of the marriage between Antony and Cleopatra, depicting Antony’s divorce of Octavia as a rejection of Rome. The senate tells Octavian that they do not want to go to war with Egypt and Cleopatra, because it will mean going to war with Antony. Octavian manipulates them into declaring war, however, by reading aloud Antony’s will. It declares that he wishes he be buried in Alexandria next to Cleopatra. The senators now convinced, pour into the streets and encourage the people to make war on Egypt. War is declared when Octavian throws the golden spear into the Egyptian envoy Sosigenes (Hume Cronyn), murdering him.
Antony and Octavian meet in Actium, Greece. Even though Antony’s officers had trained cavalry and foot soldiers for a land battle, Antony wishes to fight Octavian at sea because of the size of Cleopatra’s fleet. During the battle, Admiral Agrippa (Andrew Keir) carefully manipulates the Egyptian fleet, drawing them out and surrounding their ships. Cleopatra believes that Anto
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Find the perfect hannibal film stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
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Alamy
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Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 19/08/2024 Alamy Ltd. All rights reserved.
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https://www.metacritic.com/movie/hannibal/
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Hannibal
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[
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2001-02-09T00:00:00+00:00
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Hannibal continues the story begun in "The Silence of the Lambs." Ten years have passed since Dr. Hannibal Lecter (Hopkins) escaped from custody, ten years since FBI Agent Clarice Starling (Moore) interviewed him in a maximum-security hospital for the criminally insane. The doctor is now at large in Italy, gloriously at liberty in an unguarded world. But Starling has never forgotten her encounters with Dr. Lecter -- his cold voice still haunts her dreams. (Universal Pictures)
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https://www.metacritic.com/movie/hannibal/
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Summary Hannibal continues the story begun in "The Silence of the Lambs." Ten years have passed since Dr. Hannibal Lecter (Hopkins) escaped from custody, ten years since FBI Agent Clarice Starling (Moore) interviewed him in a maximum-security hospital for the criminally insane. The doctor is now at large in Italy, gloriously at liberty in an u...
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The Screen Addict | The Lecter Legacy
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2021-04-17T11:00:23+00:00
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I have three framed film-posters in my home – Die Hard (1988), Carlito’s Way (1993) and The Silence of the Lambs (1991). Films that meant the world to me growing up, and continue to amaze me every time I revisit them.
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https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca
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https://www.linkedin.com/pulse/bad-films-lecter-legacy-robin-logjes
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I have three framed film-posters in my home – Die Hard (1988), Carlito’s Way (1993) and The Silence of the Lambs (1991). Films that meant the world to me growing up, and continue to amaze me every time I revisit them.
In this post, I want to single out TSotL and the films and TV series its subject, Dr. Hannibal “The Cannibal” Lecter, spawned.
My first viewing of TSotL was completely unplanned. My parents had rented the VHS tape and I had spotted it lying around, but because it did not have Arnold Schwarzenegger or Sylvester Stallone on the cover, I was not immediately interested in watching it.
However, there was something about the unusual image of a woman’s face with her mouth covered by some kind of bug that intrigued me. It was not like I really had anything better to do at the time, so I decided to give it a whirl anyway.
My father once told me that if a film does not grab your attention within the first five minutes, it is probably not worth watching at all. TSotL was the first film that made me understand that theory. From the very first frame, TSotL sucked me into the story and did not let go until the credits rolled over Hannibal Lecter disappearing into a crowd, after mentioning to Clarice that he was “having an old friend for dinner”.
It was truly a formative experience for me – TSotL taught me to see films in a completely different way. More than any other film I had seen up to that point in my life, it made me understand how great storytelling works. To this day, I can think of very few films that can match the way suspense is meticulously built up in Jonathan Demme’s masterpiece.
Case in point – the face-switching sequence in which Lecter manages to escape his temporary holding facility by cutting of and using the face of one of his guards. Describing the scene almost makes it sound like a cheap slasher-film, but the way Demme and his expert collaborators execute this sequence, elevates it into the realms of high art.
Also – come to think of it – it might have actually been the film from which Face/Off (1997) scribes Mike Werb and Michael Colleary got the idea for their script… Who knew? TSotL really is F/O avant la lettre!
All joking aside – for me, the sequence still ranks as one of the truly great moments in cinema, right up there with Verbal Kint shape-shifting into Keyser Söze, and Jack Woltz waking up next to Khartoum’s severed head. I will do a separate piece on unforgettable scenes soon, because it was really hard to mention only two.
TSotL was an unmitigated triumph. Raking in almost $275 million around the world while winning the ultra-rare top five Academy Awards – Anthony Hopkins and Jodie Foster for best lead, Demme for directing, Ted Tally for best adapted screenplay, and of course best picture. It is at the time of writing of this piece still one of only three films to have ever achieved that exceptional honor.
Who exactly owns which characters from Thomas Harris’ four source novels featuring Hannibal Lecter, has always been topic of extensive debate. Basically, the rights to Lecter, Starling et al. are split between MGM , The Dino De Laurentiis Co. and Harris himself. This licensing labyrinth makes it no easy feat to create content involving any of the characters, and might also be the reason it took more than a decade for Hollywood to adapt Harris’ follow up to TSotL.
When an agreement was finally reached however, the result was extremely satisfying. In the early Aughts, Italian super-producer Dino De Laurentiis approached Ridley Scott on the set of Gladiator (2000) to offer him directorial reins on Hannibal (2001). Thinking he was being offered another historical film, Scott initially declined. After De Laurentiis clarified he was talking about Lecter, Scott took the job on the spot.
I adore Hannibal. I saw it in theatres three times, and I revisit it at least once a year. I cannot think of any other filmmaker who would be more qualified to direct a sequel to TSotL than Ridley Scott, except for maybe David Fincher. Legend has it however, that the reluctant ruler of the serial-killer genre – Se7en (1995), Zodiac (2007), The Girl with the Dragon Tattoo (2011), The Killer (2023), Mindhunter – turned down the offer.
Although it veers wildly from the novel, I think Hannibal is just stunningly scripted, filmed, acted and scored. It takes an erudite filmmaker like Ridley Scott to so faithfully frame Florence – not to mention direct an original mid-movie opera from scratch. And let’s please not forget the infamous brain-eating scene, surely one of the most disturbing sequences ever to be put on film. It had me squirming in my red velvet cinema-seat for sure.
Hannibal was a monster hit, grossing a whopping $350 million on an $85 million production budget. Additionally, it still is one of the most profitable R-rated films ever made. Unsurprisingly, De Laurentiis immediately started work on another chapter in the Lecter saga – Red Dragon (2002).
De Laurentiis had previously adapted Harris’s first novel that features Hannibal Lecter during The Eighties, changing the title to Manhunter (1986). David Lynch was initially hired to direct, but after a falling out with De Laurentiis, he was replaced with the then relatively unknown Michael Mann. The film lost money, which explains why De Laurentiis chose to pass on TSotL.
For the 2002 remake, De Laurentiis approached – believe it or not – Michael Bay, but when the Emperor of Excess declined, the Italian Mogul settled on Brett Ratner.
Look, I understand it may not be appropriate to say anything even remotely positive about Brett Ratner. If it is true what people say he did – that’s right dear readers, I do not acknowledge a trial only by media – he deserves to be banished from Hollywood forever, and maybe even thrown in prison. But in the interest of this piece, I want to recognize his significant contribution to the Lecter saga.
I actually met Ratner when I was pre-buying scripts at film markets, and he brought a very young lady with him to the meeting. He introduced her as his girlfriend, and I am sure she was. Looking back on the situation today however, there definitely was an extremely uncomfortable quality to it all. I was too ignorant to recognize it at the time though, so shame on me.
Purely looking at his skills as a filmmaker however, I think Ratner is a highly accomplished director who has made several pretty awesome films. I very much enjoyed The Family Man (2000) and After the Sunset (2004) and yes, I even liked X-Men: The Last Stand (2006). The unsettling irony is that I think more people are going to attack me for saying Ratner is a good director, than there will be folks who will get angry with me for speaking positively about an alleged sex-offender.
I think RD is an excellent film. It is exactly what you want to see following the unnerving realism of TSotL and the visual splendor of Hannibal. It is definitely more of a popcorn film, but I do not mind that at all. It boasts a truly spectacular cast and Ralph Fiennes definitely gives Anthony Hopkins a run for his money with his portrayal of Francis “The Tooth Fairy” Dolarhyde.
One of my favorite scenes happens towards the end of the film. When Lecter’s prison psychiatrist Dr. Chilton announces that a young woman from the FBI has come to see him, Lecter replies: “What is her name?” Cut to black and roll credits.
Chilton is of course referring to Clarice Starling, and the sequence neatly ties RD to TSotL – which was released 11 years earlier but features events that take place after Brett Ratner’s film. Now this might very well have been the result of a rights issue, as M.G.M. owns the Starling character. To be honest though, I really don’t care what the real reason was for not actually mentioning Clarice, because the scene works so well without it.
After one more film about a young Hannibal Lecter – Hannibal Rising (2007) which obviously didn’t feature Anthony Hopkins – the Lecter Legacy transferred to television. In recent years we saw Mads Mikkelsen successfully disprove the theory that some films and / or parts are not “remakeable” with NBCUniversal ’s Hannibal, and Rebecca Breeds further develops Starling’s story in CBS ’ Clarice.
I am happy with an expansion of the Harris Cinematic Universe for years to come – in film or otherwise. The four books revolving around Lecter feature many interesting – and often disturbing – characters, some of them hardly touched upon in adaptations so far. It does make me a little sad though, that we probably won’t see Hopkins reprising his signature role again. The actor officially retired The Cannibal after RD, and it would make no sense to do another film or TV show anyway.
At least once every year however, I can’t resist popping in the DVD again to see Hannibal marvel about eating someone’s liver with some fava beans and a nice Chianti…
#thescreenaddict
#film
#movies
#contentrecommendation
#celebrateart
#nobodyknowsanything
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https://www.theringer.com/movies/2021/2/11/22277581/hannibal-lecter-is-coming-to-dinner
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Hannibal Lecter Is Coming to Dinner
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[
"Brian Phillips"
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2021-02-11T00:00:00
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What happens when the most terrifying madman is also company—who might actually eat you for dinner?
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en
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https://cdn.vox-cdn.com/uploads/chorus_asset/file/8991993/favicon.0.ico
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The Ringer
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https://www.theringer.com/movies/2021/2/11/22277581/hannibal-lecter-is-coming-to-dinner
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With CBS debuting Clarice on Thursday night—and the 30th anniversary of The Silence of the Lambs arriving just three days later—The Ringer is spending a day celebrating Hannibal Lecter and his strangely intoxicating universe.
I’m trying to work out how many people I’ve killed. Fifty thousand? Could be more. I’ve never kept count. I have different ways of doing it. I like to go with my mood. Lately, I’ve been very into stealth. I find myself creeping around, blending in, trying to take out my target without anyone noticing. Give me a yacht party, a disguise, and a little poison, and I’m happy. Other times, I like to make a little more noise. I’ve charged through enemy lines tossing grenades like Mardi Gras beads. I’ve sprayed flames from my hands and roasted my victims to ash. I’ve stolen Lamborghinis and plowed them into innocent crowds. I’ve cut people down with lightsabers. Recently, I went through a phase where I’d gun an enemy down, then use telekinesis to pick up his body and beat one of his allies to death with it. Actually, I’m not sure I technically killed anyone in that instance. My enemies were possessed by some kind of transdimensional evil plague (I’ve forgotten the details). The sound of their bodies hitting the floor was pretty human, though.
Oh, I’m talking about imaginary people here. Should I have said that sooner? All my victims are digital. I play video games, not even all that often. I’ve never killed a real person. But then, the whole reason I’m wondering how many PlayStation kills I’ve racked up is that Jonathan Demme’s The Silence of the Lambs came out 30 years ago this week, and I’m thinking about Hannibal Lecter, the magnetically cultured and brilliant serial killer played by Anthony Hopkins in that movie, and he’s never killed a real person, either. He’s killed people who we pretended, imaginatively, were real to him, which makes him, imaginatively, a monster. But as far as the actual population of the Earth is concerned, he and I are equally harmless. As far as imaginary populations are concerned, the most obvious difference between us is that I am a machine of mass death on a scale one measly cannibal psychopath could hardly begin to approximate.
It’s true that most of the killing I’ve done has been in the name of a good cause. Not all, but most. I’ve spent hundreds of hours inside narrative frameworks that were carefully constructed to preserve my moral self-esteem while unleashing me as an implement of pure violence. The world needed me to double-wield those chainsaws. I was the only line of defense between the Nazis and the dimension portal. In this sense, I’m very different from Hannibal Lecter, who in the major canonical depictions (Hopkins in Lambs and two subsequent films, Mads Mikkelsen in 39 episodes of the prequel TV series Hannibal, plus the series of novels by Thomas Harris) did his killing amorally, from appetite. Roger Ebert touched on this in his review of Lambs, when he compared Lecter to classic movie monsters like Nosferatu and King Kong. A monster, Ebert wrote, wasn’t necessarily evil; what it was was doomed to follow its own nature, even if its nature was destructive to human beings. I need an excuse to break out a photon gun (the arc reactor is about to detonate over Io Prime!), but there’s no moral narrative compelling Lecter to fava-beans-and-Chianti that poor census taker. He does it (slurp slurp) because his nature tells him to.
I have the impression that our relationship with death—ours meaning American culture’s—changed dramatically in the late 20th century. Specifically, I’m thinking about our relationship to murder. The uncanny and disturbing power of The Silence of the Lambs, which has not diminished a whit in three decades, has to do, I want to argue, with the way it’s situated between the old way of relating to murder and the new way—it’s the rare transitional work that fully embodies all the qualities on either side of the transition.
In that way, it’s a bit like Lecter himself, who manages to embody both the sophisticated man of educated high society and the inhuman lunatic of 3 a.m. nightmares. He’s not a blend of those two characters, he’s both, fully, at the same time. That’s what makes him so compelling. He’s on the board of the Baltimore Philharmonic; he’s got human organs in his freezer. Hopkins, whose Lambs performance famously won a Best Actor Oscar for just 16 minutes of screen time, has said that he tried to play Lecter as “ultra sane,” and that’s the key not just to the character but to the whole franchise he inspired. The essence of the Hannibal Lecter expanded universe is the question: What happens when the most terrifying madman is also the most rational person in the room?
Cultural depictions of murder fluctuate as culture changes, and at some point in living memory, murderers stopped seeming quite as terrifying as they used to. Murder is still the top-of-mind answer to the question “what’s the most heinous crime?” and any pop culture detective worth her troubled Scandinavian backstory still probably spends her workweek chasing serial killers. At the same time, though, something strange has happened. Murderers have gotten likable. For centuries, a person who could plan and execute a murder in cold blood elicited a deep, gut-level horror; to come near a murderer, even in a book or play, was to approach an evil beyond the pale of thought. Murder, even real-life murder, could be entertaining. Jack the Ripper was entertaining to a great many people. But the entertainment opened onto a deep netherworld feeling of wrongness, sickness, and revulsion. There’s no cultural permission to sympathize with a murderer in older texts; even Shakespeare’s Richard III, an ingenious 16th-century instance of an artist tricking his audience into rooting for the villain of the story, loses his charisma when he has the princes murdered in the Tower. Three hundred and fifty years later, Patricia Highsmith wrote from the perspective of a psychopath in The Talented Mr. Ripley and held fast to the character’s amoral perspective until the end—but that book seemed transgressively, even shockingly, nihilistic when it appeared in 1955. And Ripley doesn’t eat anyone.
So how did we get to Dexter? How did we get to a series like The Fall, in which the serial killer is portrayed as a relatively ordinary guy, an everyday dad who just happens to have a somewhat unfortunate hobby? These days, the idea of low-stakes sympathy with the murderer in a murder story is not only unthinkable, it’s already verging on cliché. If you doubt whether things have changed, imagine walking into a Hollywood studio tomorrow and pitching a series in which the hero is a sexual predator—that inward shock you just felt would once have been roused by the thought of depicting a relatable murderer.
Like all cultural changes, this shift had a great many causes, but its event horizon seems to have been the late ’80s and early ’90s, the moment of American Psycho, the novel by Bret Easton Ellis that also turns 30 this year, and The Silence of the Lambs. This was the culmination of an era in which Americans’ real-life experience of death, disease, and war was diminishing, and violence as a share of pop culture was rapidly increasing. I was only a kid during this time, but I remember a sort of free-floating fascination with gore as a condition of the atmosphere. Stand by Me had come out in 1986, and there was a sense around that time that we were all, pretty wholesomely, going into the woods to see the dead body. I had a little experience of actual death, but not much, and it had been heavily mediated—adults, funeral homes, a sense of terrible things happening behind the scenes. At the same time, I’d seen Predator, so I knew what a ripped-open corpse looked like. Of course, this was the moment when it started seeming possible to identify with a serial killer: Their interests had never been more closely aligned with ours, and the victims had never seemed less real.
That’s not to say we approved of killers—of course not. We still wanted the cops to catch them at the end. And there were degrees of evil; some murderers, even most murderers, were still beyond the pale. (This includes the murderers who were written to exploit American sexual panic, like Buffalo Bill in Lambs, who now reads as a cringe-inducing figure of anti-trans anxiety.) But murderers in general started seeming less horrifying and more fascinating. And the right murderer? A murderer with the perfect combination of admirable qualities, intelligence, charisma, a sense of humor, a murderer whose victims weren’t entirely innocent? That was a murderer you could almost start to like.
Then The Silence of the Lambs came out. Both the book and the movie—but particularly the movie, and particularly Hopkins’s performance in the movie—functioned as a sort of instruction manual for going from the old gut-horror response to a murderer to the new model of fascination and overt fondness. Lecter was brilliant, engaging, understanding; Ebert pointed out in his review that if he didn’t eat you, he’d make a marvelous dinner guest. He had the sort of steely intensity of mind that’s always more appealing on the screen than in real life. We saw him treated badly—caged, manhandled, forced to wear that iconic half-mask with the bars over the mouth—before we ever saw him hurt anyone, so that by the time he escaped, his killings could be read through movie logic as a justified act of revenge. And we had a fully sympathetic proxy, in Jodie Foster’s Clarice Starling, who walked us step by step through the transition from fear to grudging attraction to a sort of helpless half-admiration. Hugh Dancy’s Will Graham plays a similar role in Hannibal; the Lecterverse has always been most successful when it depicts its central character from the perspective of a conventionally respectable figure who turns out to be a little evil-curious.
But—and this is the key point—Lecter wasn’t only a likable serial killer. He wasn’t even primarily a likable serial killer. He was a likable serial killer who was also completely fucking terrifying—he put us in touch with that old Whitechapel dark-alley cold-sweat panic fear at the same time as he made us root for him. The shot of the guard strung up by the cell after Lecter escapes, looking like an art installation on the eighth circle of hell? I’m sorry; I was 15 when I saw that for the first time and it rearranged the contents of my torso. Lecter wasn’t a softened murderer or a basically good guy who sometimes did bad things, like Bill Hader in Barry. He was as chilling a sonar pulse from the void as we’d ever seen, and at the same time, in the same scene, we liked him.
Lecter hit the culture, in other words, at exactly the right moment for something as disturbing as Lecter to arrive. Thirty years later, he remains a riveting figure because he closes the circuit between two dispositions toward the darkest crime. More, he reveals them both to be a little oxymoronic—the moral dehumanization of murderers in our past and the jaded sympathy for murderers in our present. I don’t think he would have caught on if we hadn’t been so ready to see death as imaginary; it’s worth remembering, though, that the artistic tension around the implications of real and fictional killing couldn’t be resolved by a single character. The Monster of Florence was a serial killer, or possibly a group of serial killers, who brutally murdered 16 people in Italy between 1968 and 1985. When Lecter’s creator, Thomas Harris, was researching his 1999 novel Hannibal, he attended the trial of a man accused of the crimes. He took notes. Later, in the TV series Hannibal, it’s implied that Lecter was the real Monster of Florence. For an entertainment product to give a fictional character credit for murders that left real people dead and bereaved strikes me as crossing an uncomfortable line, a line of self-importance if nothing else. Maybe it’s naive to say this, but the thought of Harris scribbling away in that courtroom strikes me in some ways as more disturbing than anything Hannibal Lecter has ever done.
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https://www.flicks.co.nz/movie/hannibal/
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Where to watch streaming and online in New Zealand
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How to watch online, stream, rent or buy Hannibal in New Zealand + release dates, reviews and trailers. Anthony Hopkins reprises his delectably murderous role as Dr.
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Flicks.co.nz
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https://www.flicks.co.nz/movie/hannibal/
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Keep track of the movies and show you want to see + get Flicks email updates.
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https://www.screenslate.com/articles/hannibal
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en
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Hannibal
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The tortuous career path of the Viennese-émigré director Edgar G. Ulmer took him many strange places. From working on silent westerns with William Wyler and assisting Murnau on Sunrise, he progressed to Universal Studios horror with Boris Karloff and Bela Lugosi and made scare movies on venereal disease and documentaries on tuberculosis.
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Screen Slate
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https://www.screenslate.com/articles/hannibal
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The tortuous career path of the Viennese-émigré director Edgar G. Ulmer took him many strange places. From working on silent westerns with William Wyler and assisting Murnau on Sunrise, he progressed to Universal Studios horror with Boris Karloff and Bela Lugosi and made scare movies on venereal disease and documentaries on tuberculosis. In the mid-1940s, after directing low-budget Yiddish, Ukrainian, and black-cast drama away from Hollywood, he returned there to make a series of dark Poverty Row B-movies that culminated in Detour (1946), that bleakest of film noirs. His reputation for the claustrophobic drama of ill-fated lives culminates with that film, but his career continued through the early 1960s, when he returned to Europe to make three international co-productions as part of the Hollywood flight to Cinecittá, which swallowed and ended the careers of several American auteurs, and which Vincente Minnelli dramatized in Two Weeks in Another Town (1962).
Hannibal (1959) was the first of these. Starring Victor Mature as the Carthaginian general who crossed the Alps with an elephant army to battle the Roman Republic in 218 BCE, Hannibal is a mid-budget epic shot in Yugoslavia, the Italian countryside, and studios in Rome. In a bigger-budget film, Hannibal would have been played by the pan-ethnic everyman lunk Anthony Quinn, who starred in the title role in Richard Fleischer’s Barabbas in Rome the next year. In Ulmer’s film, Mature, at this point in his career bored with acting, does not try for the kind of florid, outraged dignity Quinn brought to such roles. Mature comes across as some combination of a distracted, aging Benicio del Toro and an irritated, suntanned John Boehner.
At the film’s end, when Mature’s defeated Hannibal faces a tragic future of endless war, Ulmer shows Mature in close-up, in an unexpected superimposition, as he chants “march... march... march” over shots of his forlorn army, accompanied by narration about fate reminiscent of the narration that ends Detour. As Ulmer’s career was running out of time, it’s a fitting image for his ceaseless activity in the trenches of cheap filmmaking. Hannibal loses an eye in the film, and Mature’s eye-patched visage looks out at the audience, his broken gaze reduced to a single lens like Ulmer’s camera.
Ulmer juxtaposes the struggle of vast armies of extras on the battlefields of Cannae with studio inserts of lone soldiers filmed against a blue-sky backdrop, an extension into epic filmmaking of all the blank walls in his noirs. These shots, in which soldiers are speared or get a hand lopped off, are similar to the single shots of Greek warriors that interrupt the narrative flow of Godard’s Contempt, and also call to mind the plein-air investigations of antiquity in Straub-Huillet and Pasolini. Ulmer’s use of half a dozen or so real elephants to indicate Hannibal’s elephant cavalry now exists as a vestige of pre-CGI, pre-ASPCA filmmaking. Their march through snowy cliffs and a Roman soundstage is a sad reminder that points backward to silent Italian epics like Cabiria and to Edison’s Electrocuting an Elephant, as much as it does to the European art cinema that looked to Ulmer for inspiration and replaced him.
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https://flipscreened.com/2021/03/17/did-hannibal-2001-cannibalise-itself/
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en
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Did ‘Hannibal’ (2001) Cannibalise Itself?
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2021-03-17T00:00:00
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Hannibal is 20 years old. It was the long awaited sequel to one of history's most lauded films, so where does it stand in the film canon now?
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en
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Flip Screen
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https://flipscreened.com/2021/03/17/did-hannibal-2001-cannibalise-itself/
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Hannibal Lecter is almost a punchline today, but 20 years ago Hannibal was a long-awaited sequel to a film that created an icon. It was released a full ten years after its prequel, The Silence of the Lambs, which became a multi-Oscar winning sensation and laid the groundwork for the horror-thriller genre as we know it. Hannibal “the Cannibal” Lecter, as played by Anthony Hopkins, instantly became one of cinema’s best known anti-heros, and that the long-gestating sequel is named after him highlights his cultural significance. The one-word title also brings with it a weight of expectation, as if the film were to be a definitive exploration of the character. There’s no doubt that Hannibal is much weaker than its predecessor, though, even with the touch of famed director Ridley Scott, as this genre-bending film is so obsessed with the image of Lecter as an evil genius that it misses everything that made his presence memorable before. Nevertheless, it still merits remembrance and serious consideration for its franchise-toppling influence.
Hannibal is bold in a respect, with an interesting structure that upends the procedural approach that came before. Instead, it moves to being a more visually extravagant, genre-literate adventure. Much of the film follows Hannibal – Hopkins returning to his Oscar-winning role – attempting to avoid detection whilst enjoying a new life in Florence, his direct opposition being a detective (Giancarlo Giannini) driven by the promise of reward to expose him to the world. The subplots follow the demotion of FBI agent Clarice Starling (Julianne Moore) and her eventual team up with an old enemy of Lecter, Mason Verger (Gary Oldman), who are both determined to find him once more. There’s something of the novel Dracula in the plotting: a group of individuals working to try and take down a seemingly unstoppable monster. It’s not inherently a flawed approach, but one that requires a strong sense of purpose to drive it forwards.
A large part of why people became attached to the franchise is the complex relationship between evergreen Clarice and the fascinated, playful Dr Lecter – but the handling of it here is bungled. The recasting of Clarice is an almost fatal flaw, as what was unmissable between the characters in the prior movie was the shifting, energetic dynamic between Jodie Foster and Hopkins. Such unforgettable acting leaves room for great expectation around how a fresh encounter might feel, and the nervous anticipation is heightened by the characters’ reunion being pushed to the film’s tail end. Inevitably it’s dissatisfying: Hopkins and Moore don’t have the frisson that would be hoped for. Indeed, the whole encounter feels something like fan service as it adds so little to the characterisation of both Clarice and Hannibal.
The movie still has, at the very least, some style. One of its best features is Florence, with the city’s historic architecture and vast spaces lending intertwined senses of theatre and threat. Italy is both perfect for a cultured character like the protagonist but also a perfect home for horror thanks to Italy’s strong tradition of cinematic terror. Everyone involved in bringing the spectacle to life is largely game, too, with Hopkins bringing fun, humour, and still enough menace to proceedings, and despite little backstory Giannini portrays the perfect worn-down cop. These positives make the film entertaining viewing for the most part, even if there’s often a nagging sense of something missing.
The disappointing ending, however, undermines the foundations of the work, and sets in motion the trajectory for one of cinema’s most iconic characters. The end of the film has us essentially back at the status quo, with Clarice and Hannibal not having made any lasting new impression on each other’s psyches. It’s a massive contrast to the book, which leaves them both utterly changed when they meet each other again. There they become lovers who disappear into the night together. Avoiding such a controversy-stoking ending might have seemed the right decision in order to make the film palatable for audiences and, most likely, easy enough viewing that they’d be ready for more adventures. What the approach to wrapping up the story did, however, was turn Hannibal into popcorn entertainment compared to its subversive predecessor and prepared the title character for appearances in follow up films that reduced him to cliché.
Here he is something of a cliché already, belonging to the tabloid and schlocky cinema trope of the charming killer with unmatched wit and intelligence. The Silence of the Lambs and 2002’s Red Dragon tap into something more related to reality, their villains maladjusted individuals who’ve been able to murder because of single-mindedness rather than particular talent. Hannibal in those films remains behind bars, a clever figure giving advice but not necessarily suited to the outside world. The film Hannibal, in contrast, turns him into a learned character with something of a moral compass. It’s a fantastical scenario that means you can never believe in the title character, and the fact that this film’s plot revolves mostly around him means that you almost always feel at a remove from the action.
There’s little else going on in the film thematically to distract you from such failures. Clarice is one of the main characters, but her demotion and lack of career success seem a cursory continuation of The Silence of the Lambs‘ study of sexism; it’s largely dropped as the plot manoeuvres towards the reunion with Hannibal. Mason Verger is a secondary villain who similarly has little to add beyond being a personal foil for Lecter, and otherwise harms the tale with the ableist implication that his scarred face is linked to his evil values. Hopkins’ performance as the lead impresses amidst this emptiness but, unsurprisingly, not because of a meaningful or largely memorable script, but as the result of an actor who works hard even in difficult circumstances.
Thomas Harris’ material is a challenging starting point to work for anyone involved, with his writing having gained increasingly lurid plot points over the years. Hannibal is largely an adaptation of Harris’ novel of the same name, but it eschews some of the more controversial elements such as the harvesting of Verger’s semen and the mention of Hannibal’s sister being eaten by cannibals. Film producer Dino De Laurentiis, however, needs to take much of the blame for the books arriving on the screen as clunky, nostalgia-baiting products. The success of The Silence of the Lambs pushed him to release poorly received follow-ups with diminishing financial returns, largely recognised for the disservice done to their central character. Had the movies been created from a perspective of respect for the character and his potential then we might have seen a different series: a complex, risk-taking set of stories that explored evil in a way that engages the mind rather than lightly taps the adrenaline glands.
It is the case, of course, that Hannibal hasn’t destroyed the franchise in all its aspects. A much more grounded and better received television series – of the same name – aired in the last decade, and a new show called Clarice has just begun as an exploration of that character’s time with the FBI. However, the former show was cancelled after a mere three seasons, and the latter isn’t shaping up to be particularly well received. The franchise would likely be in a stronger position if Hannibal Lecter remained a byword for thrills and horror rather than also suggesting camp absurdity — an absurdity so unappealing it’s easy to imagine that Hannibal has been forgotten by many who saw it on release. Hannibal is not a cause but a symptom of Hollywood willing to undermine narrative integrity simply for cash, and hopefully it can act as a lesson to filmmakers of how not to stall a franchise as it starts.
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https://tenyearsago.wordpress.com/2011/02/11/ten-years-ago-hannibal/
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en
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Ten Years Ago: Hannibal
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2011-02-11T00:00:00
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Logline: Ten years after the events of The Silence Of The Lambs, the escaped Hannibal Lecter now works as an assistant curator of a library in Florence, Italy. Unfortunately for him, a rich but horribly disfigured former victim of his has put out a $3 million bounty on him and also used his considerable wealth…
|
en
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https://s1.wp.com/i/favicon.ico
|
10 Years Ago: Films in Retrospective
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https://tenyearsago.wordpress.com/2011/02/11/ten-years-ago-hannibal/
|
Logline: Ten years after the events of The Silence Of The Lambs, the escaped Hannibal Lecter now works as an assistant curator of a library in Florence, Italy. Unfortunately for him, a rich but horribly disfigured former victim of his has put out a $3 million bounty on him and also used his considerable wealth to put FBI agent Clarice Starling back on the case.
This was one of those weeks where I was glad to have started this project in the first place. Since my teenage years, I have made a considerable effort to read books that were soon to become movies. (I certainly did the same thing before my teenage years as well, mostly through fantasy novels or the work of Stephen King, but I didn’t turn it into a mission until my teen years.) I find it to be very illuminating, educational and downright exciting to see, at least from the outside, the process that happens from the book page to the script page to the screen. It also helps me broaden my literary horizons, even though it’s often I’m plowing through best-selling, mass market stuff that everybody else has read. (This January, for instance, it felt downright strange to read Stieg Larsson’s violent and pulpy Swedish political procedural The Girl Who Kicked The Hornet’s Nest, only to follow it up with Kathryn Stockett’s The Help, about the relationships between African-American maids and the lily white women they serve in 1960s Mississippi.) I have yet to prove if doing such a thing makes me a better writer, as I am clearly not a highly paid Hollywood screenwriter, and even if I was, I feel connected enough to the whims of most novelists that I would hate to be that person who was assigned to tear apart your book and leave it as a 120-page outline of what it once was.
This has its downside, as I tend to mostly read plays, books of collected essays, pop culture treatises or histories of film/television/theatre, so I rarely pick up a novel that isn’t either already a movie, becoming a movie or has been mentioned as potentially becoming a movie. I’m getting better, though. I really am.
(I would also say that bits of this, aside from my love of film, was instilled in me by the American educational system, as reading books and then watching their cinematic adaptations in class seems to be a good way to get literature across to children/teenagers.)
This process can certainly backfire, and it’s often difficult to watch a film and not feel like many, many mistakes were made in what to keep, what not to keep and what to alter, and it often blocks me from even properly enjoying any number of films. It took me at least four movies to simply give into the film adaptations of the Harry Potter series, but I also still find myself distracted by what could have been. I try to avoid this problem, at least slightly, by reading a book far in advance from its theatrical release date, so I have enough distance and can enjoy myself more.
But with Hannibal, I didn’t read it until it came out in paperback in 2001, and I think it was only a matter of a week between me finishing the book and seeing the film in theatres. If you’ve both read the book and seen the movie, you could maybe relate to how this is a bit of a struggle.
Hannibal is a surprisingly bizarre film, but it’s even more absurd of a book. It’s a big, sloppy ensemble piece that doesn’t quite come together, and it tides its readers through some of the lamer procedural stuff and character assassination with almost shocking amounts of violence and gore. (I would say the same for Stieg Larsson’s Millennium Trilogy, but it won me over halfway through book two through the characterization of Lisbeth Salander as well as its aggressive insistence that I give a shit about Sweden.) So coming off of Thomas Harris’ much-maligned book with images I couldn’t shake — remember the character, excised from the film, of Verger’s dominatrix sister, who he once raped, using a cattle prod on her disfigured brother in order to attain the semen he promised her, then murdering him by shoving an eel down his throat — the film struck me as a neutered but well shot thriller. The clothesline of a plot was there, but the spirit of the book, as wrongheaded and over-the-top as it often was, was nowhere to be found.
But here I am, ten years later, having wasted your time with that lengthy intro, far removed from the book and…say it with me…finding the movie to be somewhat of a delight. I think I have a better grasp on what makes a proper film adaptation, or at least why certain choices are made during the development process, and I’m not longer the teenager who stubbornly thinks a novelist’s choice should always, always be protected.
Hannibal, by way of screenwriter Steven Zaillian and director Ridley Scott, is gleefully strange. Too strange to suck and too silly to simply be chucked off. It’s a $100 million gross-out fest filmed as if it were a deeply felt globetrotting drama, a story of loyalty and honor that just happens to have face-slicing and brain-eating, and…a love story? It’s also uproariously funny at times, often while it’s trying to make you lose your lunch. At no point is the film frightening, which, if you’re comparing this one to The Silence of the Lambs, makes this a complete failure. It’s a different take on the material, though; expensive, lush, operatic and almost ironically classy. It cements my belief that Ridley Scott is insane. Not, like, Matthew Barney’s Cremaster Cycle insane, but an “I can do anything I want and they’ll still give me money” insane. If only they had kept the book’s ending.
Hannibal Lecter as a character, instead of simply seeming like a defanged version of his former self, is now fascinating to watch as he is allowed to freely roam the world as an academic, and his modus operandi as a murderer and cannibal somehow makes a lot more sense than it did when I was 18. I find myself greatly appreciating Giancarlo Giannini’s work as the doomed Chief Inspector Rinaldo Pazzi, a performance good enough for a three-hour Italian epic. And Gary Oldman’s unbilled performance as the disfigured Mason Verger comes straight from a planet in outer space, so violently out-of-control and unpleasant that it couldn’t possibly have been done by a member of Planet Earth.
And so, ten years later, I learned to stop worrying and love the movie. I still have some major reservations, mostly focused on the film’s structure (see my Free-Floating Thoughts below), but this was another genuine surprise of a rewatch. And to think, I could have chosen to rewatch Saving Silverman.
Free-Floating Thoughts:
-Frankie Faison (The Wire) ain’t no fool, and he’ll guard the shit out of Hannibal Lecter
-Anybody ever see Hannibal Rising? I like the director and lead actor, but I simply never got around to it.
-I would have loved to see David Mamet’s take on this, but allegedly none of his screenplay remains. (Oh…whaddya know? It’s on dailyscript.com)
-Holy shit! They offered the role of Mason Verger to Christopher Reeve? Is that hilariously insulting or…kind of appropriate?
-I’m glad Verger has a key light simply to illuminate his face and terrify all those who visited him.
-“‘Try peeling off your face…and feeding it to the dogs.’ It seemed like a good idea at the time.”
-“He preferred to eat the rude.”
-One thing that, for obvious reasons, plays completely differently now than it did in February of 2001 is the eerie moment when, in showing the FBI’s Ten Most Wanted website, there is a close-up of the one and only “Usama Bin Ladin.”
-The act structure doesn’t entirely work. In regards to the Florence sequences, it’s not long enough to be a parallel story, but it’s conversely too long and comes in too early (and leaves too late) to simply fit into itself as “the second act.” This is more the book’s fault than anything else (and the screenplay’s cutting of many of the characters back in the United States, which leaves a giant chunk of the film without an appearance by Verger), but you’d think Zaillian would have had a better solution. It’s tough to balance Hannibal’s and Clarice’s story effectively, and it’d be hard to use all of this as a proper second act and tell an audience to mostly forget about Clarice for at least 30 minutes. It would also make the same mistake of having the third act be too long, so…man. I see why this had to go through so many drafts.
-Man, those are some big-ass killer boars.
-It’s nice to see such a well shot Firenze as I’m in the midst of playing the 15th century Italy-set videogame Assassin’s Creed II. In fact, this fits like crazy into Assassin’s Creed II, as Giancarlo Giannini plays Inspector Pazzi, a descendent of the Pazzi family, who are villains early in the video game.
-“On a related subject, I must confess to you, I’m giving very serious thought…to eating your wife.”
-“What’s it to be? Bowels in, or bowels out?” Huzzah to the intestines money shot.
-There isn’t enough build-up to Verger’s death, but it still helps prove that one should never, never ever ever trust Zeljko Ivanek.
-“Are those shallots?”
-I think the Anthony Hopkins/Julianne Moore/Ray Liotta brain-eating scene should be its own comedic one-act. I prefer that a film try out a sequence this ludicrous and somewhat fail, as opposed to not trying at all.
-This is, by the way, Ray Liotta’s best performance, based solely on his acting during the “brain sequence.” He’s even better here than he is Goodfellas. (“Cahhhh-fee.”)
-The ending they went with is very nice thematically and is not at all a betrayal of Clarice’s character as it is in the book, but…come on. You know you’d like to see millions of audience members flip out and tear up their seats.
Response to the Critics
(I try to read reviews from the same sources after each movie I watch. Here are a few handpicked excerpts I enjoyed, sometimes followed by my reactions.)
–Onion A.V. Club: “Though disturbing behind glass, Hopkins’ Lecter seems more camp than creepy when let loose in the wild. Seen swooning over handcrafted furniture and smoking cigarettes wrapped in brown paper, he bears a closer resemblance to The Simpsons’ Sideshow Bob than some creature let loose from nightmares or the nether regions of the id.”
-While I think Julianne Moore is a tremendous actress, I’m not entirely sure if she works in this movie. I agree here, with the Village Voice: “Moore’s Clarice is heavily dependent on Foster’s earlier incarnation, but radiating impatience throughout, she projects little of the solitude or vulnerability Foster brought to the role.”
Although I do like the San Francisco Chronicle‘s response: “As an actress, Foster is good at playing problem solvers, but no one is better than Moore at depicting anguish and emotional paralysis, Clarice’s mental state 10 years later.”
Still, I don’t think it’s an A-level performance. I don’t think she’s given enough to work with, so it’s hard to pinpoint where the major problem is.
–San Francisco Chronicle: “It may be the most well-crafted piece of garbage this year.”
-And, as would be expected, I love Ebert’s opening paragraph of his 2.5-star review: “Ridley Scott’s ‘Hannibal’ is a carnival geek show elevated in the direction of art. It never quite gets there, but it tries with every fiber of its craft to redeem its pulp origins, and we must give it credit for the courage of its depravity; if it proves nothing else, it proves that if a man cutting off his face and feeding it to his dogs doesn’t get the NC-17 rating for violence, nothing ever will.”
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https://www.timeout.com/film/best-serial-killer-movies
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32 Best Serial Killer Movies Of All Time
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] |
[] |
[] |
[
""
] | null |
[
"Matthew Singer",
"Phil de Semlyen"
] |
2024-08-15T23:00:00+00:00
|
Hack, slash and chop your way through the best films starring cinema's greatest psychos
|
en
|
/static/images/favicon.ico
|
Time Out Worldwide
|
https://www.timeout.com/film/best-serial-killer-movies
|
Monsters abound in movies, but none frighten quite like the serial killer. After all, zombies, vampires and interdimensional demons are figments of our imaginations, or representations of deep human fears made flesh. But serial killers are real. Senseless, random murders happen all the time, and the culprit isn’t a supernatural force or thing from another planet. Quite literally, it can be the person living right next door.
And so, the question is: why do audiences flock to serial killer movies? Why spend the hours of your life you reserve for entertainment immersed in the darkest corners of the human psyche? Maybe it helps assure our own humanity. Maybe it’s simply to stare into the moral abyss. Or maybe it’s because the best serial killer movies try to tell us something about what creates a serial killer. In putting together this list, we’ve paid attention to movies that probe the conditions which, for a certain vulnerable person, can strip all value from a human life. Some might be considered horror movies, others as noirs or procedurals. All of them will leave you shaken.
Recommended:
|
||||
5824
|
dbpedia
|
1
| 24
|
https://www.forbes.com/sites/scottmendelson/2021/02/09/hannibal-movie-box-office-records-anthony-hopkins-clarice/
|
en
|
‘Hannibal’ Tricked Hollywood Into Treating Hannibal The Cannibal Like A Movie Star
|
[
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[] |
[] |
[
"Hannibal",
"Thomas Harris",
"The Lost World",
"Silence of the Lambs",
"Anthony Hopkins",
"Clarice Starling",
"movies",
"box office",
"Julianne Moore",
"Hannibal Lecter"
] | null |
[
"Scott Mendelson"
] |
2021-02-09T00:00:00
|
Audiences thrilled to Anthony Hopkins as Dr. Hannibal Lecter, but absent that star+character pairing the IP is almost worthless.
|
en
|
Forbes
|
https://www.forbes.com/sites/scottmendelson/2021/02/09/hannibal-movie-box-office-records-anthony-hopkins-clarice/
|
Audiences thrilled to Anthony Hopkins as Dr. Hannibal Lecter, but absent that star+character pairing the IP is almost worthless.
Would you believe that there was a time when the third biggest opening weekend of all time belonged to a gruesome and violent R-rated horror movie? Today marks the 20th anniversary of Ridley Scott’s feature-film adaptation of Thomas Harris’ Hannibal. Opening ten years to the weekend after Silence of the Lambs (which turns 30 on Sunday), the film was the very definition of a breakout sequel, opening with $58 million in its debut weekend. That was just below The Phantom Menace ($64 million over a $105 million Wed-Sun debut in 1999) and The Lost World ($74 million over a $92 million Fri-Mon debut in 1997). The film wasn’t quite as leggy as its predecessor but still earned a terrific $165 million domestic and $352 million worldwide on an $87 million budget.
Its legacy is partially in how it kicked off the modern era of the sky-high opening weekend. It began a year that would see three movies (The Mummy Returns, Planet of the Apes and Rush Hour) open with $66-$69 million debuts and come within inches of The Lost World’s domestic debut. The record would be shattered by Harry Potter and the Sorcerer’s Stone ($90 million) at year’s end. Hannibal was not the first “not a Batman, Star Wars or Jurassic” flick to post a $50 million-plus opening, following The Grinch, X-Men, Mission: Impossible 2 and Austin Powers: The Spy Who Shagged Me. But its powerhouse debut began the normalization of the sky-high opening. Its other legacy is in tricking folks into thinking that it was an endlessly exploitable IP.
The Steven Zaillian and David Mamet-penned adaptation of Thomas Harris’ blockbuster novel was a case of somewhat missing the point. I don’t think Hannibal is a very good book, but it works then and now as an extended middle finger from Harris to those who watched Silence of the Lambs and thought of Hannibal Lecter as a pop culture anti-hero. It’s especially critical, in a significantly ahead of its time fashion, to those who watched The Silence of the Lambs and wanted to see Hannibal the Cannibal and Clarice Starling in a kind of Beauty and the Beast romance. In a skewed way, it was an attempt to mock or critique pop culture “shipping,” especially those who take an emotional investment (versus mere lustful imagining) in the sexy baddie and the feisty heroine hooking up.
The book is a little satirical, especially the third act, which essentially gives this demographic what it wants, including a finale where Lecter has to rescue Clarice from certain death and then brainwashes her to fall in love with him. The movie is pretty faithful in terms of moment-to-moment plot. Still, it both takes itself a bit more seriously and is too concerned about retaining the notion of Starling as a good role model/“strong female character” to commit to the bit. I don’t blame Jodie Foster one bit for passing on the movie, and the film tries to have its cake and eat it too in a way that makes it almost an endorsement of the very thing Harris seemed to be mocking. It’s a “prestige” adaptation of an unapologetic schlock novel.
That said, the film still has a specific power and big-scale appeal as an extravagant, grand-scale horror flick that doesn’t remotely play like a conventional sequel to a serial killer procedural. To the extent that folks might have expected, on the page and/or on the screen, a follow-up to Red Dragon and The Silence of the Lambs that skewed closer to the “FBI agent uses Lecter to catch a serial killer” formula, this ain’t it. In an early lesson of how regular moviegoers don’t always pay attention to entertainment media, I was shocked at how many folks were surprised by the film’s climax since it had been discussed at length when the book debuted in the summer of 1999. It was fun watching packed audiences react to the “surprise” ending.
Nonetheless, opening weekend isn’t about quality, critical acclaim or audience feedback, but rather about pre-release marketing and variables (star power, existing IP, etc.) that earn audience goodwill. Hannibal opened with a sky-high domestic debut specifically because it was a sequel to The Silence of the Lambs and featured Anthony Hopkins returning to the role that turned him into a movie star. That it was so successful sans its predecessor’s top-billed star was, all due respect to substitute Starling Julianne Moore, a troubling sign that original actresses were sometimes disposable even in follow-ups for female-centric hits.
Ironically, Bryan Fuller’s acclaimed Hannibal TV show, which ran for three low-rated seasons on NBC, is essentially “What if the Thomas Harris mythology was told in the naval-gazing, grand Guignol, borderline camp style of Hannibal?” That goes to the other significant legacy of Hannibal (the movie). It wrongly convinced Hollywood (or at least Dino de Laurentiis) that Thomas Harris’ novels were viable IP. The Silence of the Lambs was a smash because it was a terrific and impactful movie. Hannibal was a smash because it was a sequel to Silence of the Lambs, and Brett Ratner’s Red Dragon (released in October of 2002) was a minor hit ($208 million on a $93 million budget) because it was a prequel to Lambs. All three featured a specific actor (Hopkins) in a marquee role (Lecter).
Michael Mann’s Manhunter (a before-its-time adaptation of Red Dragon released to decent reviews but low box office in 1986) bombed. Hannibal Rising, based on Harris’ unrequested “origins of Hannibal Lecter” prequel book, opened 14 years ago today to poor reviews and empty theaters ($82 million on a $50 million budget). I adore the Hugh Dancy/ Mads Mikkelsen episodic as much as the next TV nerd, but Hannibal averaged 2.9 million viewers in season one and 1.31 million viewers in season three. NBC letting it run for three seasons was an act of mercy. We’ll see if CBS’s Clarice (starring Rebecca Breeds as Starling in a show set in 1993), which is legally forbidden from even referencing Lecter by name, will buck the trend. Unless Clarice was the marquee character all along, I’m not optimistic.
It’s yet another reminder that sometimes the success of a given movie or TV show, even when based on source material, is about the specific variables of that given film or show. There’s an entire genre of flailing IP/would-be franchises (Conan, Terminator, Predator, etc.) that is rooted in “people wanted to see Arnold Schwarzenegger in this high concept.” This is for another day, but just because James Cameron turns your first sequel (Aliens, Terminator 2 and even Rambo: First Blood part II, which he co-wrote) into a big-budget action blockbuster doesn’t mean that you have an everlasting IP. Thus far, the success of the Lecter IP has been rooted in Anthony Hopkins as Dr. Hannibal “The Cannibal” Lecter and the goodwill stemming from a single excellent serial killer thriller.
|
|||||
5824
|
dbpedia
|
1
| 73
|
https://www.pinkvilla.com/entertainment/box-office/7-highest-grossing-horror-movies-worldwide-it-tops-among-hannibal-a-quiet-place-and-others-1336648
|
en
|
7 highest grossing horror movies worldwide: IT tops among Hannibal, A Quiet Place, and others
|
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2024-08-07T18:45:28+05:30
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Are you a fan of horror movies? Take a look at the top 7 highest grossing horror movies of all time in the world.
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en
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PINKVILLA
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https://www.pinkvilla.com/entertainment/box-office/7-highest-grossing-horror-movies-worldwide-it-tops-among-hannibal-a-quiet-place-and-others-1336648
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Horror movies have a huge fan base across the world. Although they don't make a massive business like the popular Marvel and DC Superhero movies, they have a wide market that ranks them under profitable genres. Hollywood filmmakers have got the neck to impress and give chills to the viewers with their horror content. From Annabelle to The Conjuring, many American horror movies have crossed boundaries and carved a separate fandom among movie lovers. Here are 7 highest grossing horror movies of all time at the worldwide box office.
7 highest grossing horror movies at the worldwide box office
1. It: Chapter One
The 2017 released It: Chapter One tops the list of highest grossing horror movies of all time. The movie directed by Andy Muschietti is the first of the two part movie franchise, adapted from Stephen King’s acclaimed 1986 novel of the same name.
The Supernatural horror movie raked over a humongous business of $702 million worldwide and was crowned as the highest-grossing horror movie at the worldwide box office. The movie not only gained commercial success but was also lauded by the critics and named among the best movies of 2017. It: Chapter One is hailed as the creepiest movie of all time and considered as a modern horror classic movie.
2. Jaws
Released in 1975, Jaws still manages to make its place among the highest grossing movies of all time. The American horror thriller movie directed by Steven Spielberg holds a special fanbase across the globe. The movie became a blockbuster with a staggering business of $ 483 million at the worldwide box office.
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Jaws was later made into a franchise with two more parts; however, none of them had Steven Spielberg's involvement. After adjusting for inflation, Jaws is the second-highest-grossing horror movie of all time.
3. It: Chapter Two
Set after 27 years of the events of It: Chapter One, this instalment saw the light of release in 2019. The American supernatural horror movie sequel stormed the box office by collecting $ 467 million, though it got mixed audience reception.
The movie helmed by Andy Muschietti ranked at the third highest grossing horror movie of all time. It offers one of the best experiences to the scary movie buffs.
4. The Exorcist
The 1973 released horror movie The Exorcist is considered among the scariest movies of all time. The movie marks the beginning of The Exorcist franchise, consisting of six film installments and a television series.
The William Friedkin-directed film was reportedly banned in many territories due to its disturbing impact on audiences, with some viewers fainting and vomiting during its theatrical run. It became a successful Warner Bros. production in its release year, albeit accompanied by significant controversy. With a mammoth collection of $428 million (adjusted for inflation), The Exorcist holds the fourth spot among the highest-grossing horror movies of all time.
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5. The Nun
The Nun, directed by Corin Hardy is a Gothic Supernatural horror film released in 2018. It served as the spin-off to the popular horror movie universe, The Conjuring 2 (2016). The Nun opened to mixed word of mouth, with fans criticizing its weak narrative and logic, though it managed to emerge as a big hit at the box office.
Reportedly, the successful film raked in a worldwide gross collection of $362 million and ranked as the fifth highest grossing horror movie of all time. It was later renewed for a sequel that was released in 2023.
6. Hannibal
Directed by Ridley Scott, the movie stars Legendary actor Anthony Hopkins in the titular role with Julianne Moore. The movie served as the spiritual sequel to the 1991 released movie The Silence of the Lambs. The psychological horror thriller drama, released in 2001, grossed over $350 million at the worldwide box office and secured the sixth spot among the highest grossing horror movies of all time.
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Hannibal was followed by its prequel titled Red Dragon (2002) with Hopkins reprising his role of Lecter.
7. A Quiet Place
A Quiet Place is a post-apocalyptic horror thriller drama that was released in 2018. Directed by John Krasinski, the movie stars Emily Blunt in the lead role while Krasinski himself played her on-screen husband.
The horror drama opened to positive public talk and grossed over $334 million at the worldwide box office, registering itself as the seventh highest grossing movie of all time in its genre. The movie was later renewed for its sequel that released in 2021.
List of highest grossing horror movies on the basis of worldwide gross:
Beside these top 7 highest grossing horror movies, some other notable horror movies include The Conjuring franchise, Resident Evil: The Final Chapter, Split and Annabelle franchise.
So, undeniably, horror movies contribute a major portion to the box office collection. Let us know if you have watched these movies yet. And if not, there's nothing you should wait for. Grab your favorite popcorn and experience the spooky side of the cinema right away!
Keep an eye on Pinkvilla for more such interesting stories!
Disclaimer: The box office figures are compiled from various sources and our own research. The figures can be approximate, and Pinkvilla does not make any claims about the authenticity of the data. However, they are adequately indicative of the box-office performance of the films in question.
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https://www.britannica.com/topic/Hannibal-film-by-Scott
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Hannibal | film by Scott [2001]
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Other articles where Hannibal is discussed: Ridley Scott: His next film, Hannibal (2001), was a box-office hit despite poor reviews, and his military drama Black Hawk Down (2001) was nominated for four Academy Awards, including best director.
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/topic/Hannibal-film-by-Scott
|
Hannibal
film by Scott [2001]
Learn about this topic in these articles:
Assorted References
discussed in biography
In Ridley Scott
His next film, Hannibal (2001), was a box-office hit despite poor reviews, and his military drama Black Hawk Down (2001) was nominated for four Academy Awards, including best director.
Read More
production by De Laurentiis
In Dino De Laurentiis
…remade as Red Dragon (2002)—Hannibal (2001), and Hannibal Rising (2007).
Read More
role of
Hopkins
In Anthony Hopkins: Hannibal Lecter, Richard M. Nixon, and John Quincy Adams
…portrayal of Hannibal Lecter in Hannibal (2001) and Red Dragon (2002) before leading the cast of a 2003 adaptation of Philip Roth’s novel The Human Stain. In 2005 he starred as a brilliant mathematician afflicted with mental illness in Proof and as a New Zealand motorcycle racer in
Read More
Moore
In Julianne Moore: Rise to stardom
…the Lambs (1991)—in its sequel, Hannibal. Her renderings of women suffocated by the repressive social mores of the 1950s in Haynes’s Far from Heaven (2002) and Stephen Daldry’s The Hours (2002) led to best actress and best supporting actress Oscar nods, respectively.
Read More
Oldman
In Gary Oldman
…Silence of the Lambs sequel Hannibal (2001), he disappeared under layers of prostheses to play Hannibal Lecter’s former patient and nemesis, whom the cannibal induced into cutting off his own face after drugging him.
Read More
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https://flipscreened.com/2021/03/17/did-hannibal-2001-cannibalise-itself/
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Did ‘Hannibal’ (2001) Cannibalise Itself?
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2021-03-17T00:00:00
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Hannibal is 20 years old. It was the long awaited sequel to one of history's most lauded films, so where does it stand in the film canon now?
|
en
|
Flip Screen
|
https://flipscreened.com/2021/03/17/did-hannibal-2001-cannibalise-itself/
|
Hannibal Lecter is almost a punchline today, but 20 years ago Hannibal was a long-awaited sequel to a film that created an icon. It was released a full ten years after its prequel, The Silence of the Lambs, which became a multi-Oscar winning sensation and laid the groundwork for the horror-thriller genre as we know it. Hannibal “the Cannibal” Lecter, as played by Anthony Hopkins, instantly became one of cinema’s best known anti-heros, and that the long-gestating sequel is named after him highlights his cultural significance. The one-word title also brings with it a weight of expectation, as if the film were to be a definitive exploration of the character. There’s no doubt that Hannibal is much weaker than its predecessor, though, even with the touch of famed director Ridley Scott, as this genre-bending film is so obsessed with the image of Lecter as an evil genius that it misses everything that made his presence memorable before. Nevertheless, it still merits remembrance and serious consideration for its franchise-toppling influence.
Hannibal is bold in a respect, with an interesting structure that upends the procedural approach that came before. Instead, it moves to being a more visually extravagant, genre-literate adventure. Much of the film follows Hannibal – Hopkins returning to his Oscar-winning role – attempting to avoid detection whilst enjoying a new life in Florence, his direct opposition being a detective (Giancarlo Giannini) driven by the promise of reward to expose him to the world. The subplots follow the demotion of FBI agent Clarice Starling (Julianne Moore) and her eventual team up with an old enemy of Lecter, Mason Verger (Gary Oldman), who are both determined to find him once more. There’s something of the novel Dracula in the plotting: a group of individuals working to try and take down a seemingly unstoppable monster. It’s not inherently a flawed approach, but one that requires a strong sense of purpose to drive it forwards.
A large part of why people became attached to the franchise is the complex relationship between evergreen Clarice and the fascinated, playful Dr Lecter – but the handling of it here is bungled. The recasting of Clarice is an almost fatal flaw, as what was unmissable between the characters in the prior movie was the shifting, energetic dynamic between Jodie Foster and Hopkins. Such unforgettable acting leaves room for great expectation around how a fresh encounter might feel, and the nervous anticipation is heightened by the characters’ reunion being pushed to the film’s tail end. Inevitably it’s dissatisfying: Hopkins and Moore don’t have the frisson that would be hoped for. Indeed, the whole encounter feels something like fan service as it adds so little to the characterisation of both Clarice and Hannibal.
The movie still has, at the very least, some style. One of its best features is Florence, with the city’s historic architecture and vast spaces lending intertwined senses of theatre and threat. Italy is both perfect for a cultured character like the protagonist but also a perfect home for horror thanks to Italy’s strong tradition of cinematic terror. Everyone involved in bringing the spectacle to life is largely game, too, with Hopkins bringing fun, humour, and still enough menace to proceedings, and despite little backstory Giannini portrays the perfect worn-down cop. These positives make the film entertaining viewing for the most part, even if there’s often a nagging sense of something missing.
The disappointing ending, however, undermines the foundations of the work, and sets in motion the trajectory for one of cinema’s most iconic characters. The end of the film has us essentially back at the status quo, with Clarice and Hannibal not having made any lasting new impression on each other’s psyches. It’s a massive contrast to the book, which leaves them both utterly changed when they meet each other again. There they become lovers who disappear into the night together. Avoiding such a controversy-stoking ending might have seemed the right decision in order to make the film palatable for audiences and, most likely, easy enough viewing that they’d be ready for more adventures. What the approach to wrapping up the story did, however, was turn Hannibal into popcorn entertainment compared to its subversive predecessor and prepared the title character for appearances in follow up films that reduced him to cliché.
Here he is something of a cliché already, belonging to the tabloid and schlocky cinema trope of the charming killer with unmatched wit and intelligence. The Silence of the Lambs and 2002’s Red Dragon tap into something more related to reality, their villains maladjusted individuals who’ve been able to murder because of single-mindedness rather than particular talent. Hannibal in those films remains behind bars, a clever figure giving advice but not necessarily suited to the outside world. The film Hannibal, in contrast, turns him into a learned character with something of a moral compass. It’s a fantastical scenario that means you can never believe in the title character, and the fact that this film’s plot revolves mostly around him means that you almost always feel at a remove from the action.
There’s little else going on in the film thematically to distract you from such failures. Clarice is one of the main characters, but her demotion and lack of career success seem a cursory continuation of The Silence of the Lambs‘ study of sexism; it’s largely dropped as the plot manoeuvres towards the reunion with Hannibal. Mason Verger is a secondary villain who similarly has little to add beyond being a personal foil for Lecter, and otherwise harms the tale with the ableist implication that his scarred face is linked to his evil values. Hopkins’ performance as the lead impresses amidst this emptiness but, unsurprisingly, not because of a meaningful or largely memorable script, but as the result of an actor who works hard even in difficult circumstances.
Thomas Harris’ material is a challenging starting point to work for anyone involved, with his writing having gained increasingly lurid plot points over the years. Hannibal is largely an adaptation of Harris’ novel of the same name, but it eschews some of the more controversial elements such as the harvesting of Verger’s semen and the mention of Hannibal’s sister being eaten by cannibals. Film producer Dino De Laurentiis, however, needs to take much of the blame for the books arriving on the screen as clunky, nostalgia-baiting products. The success of The Silence of the Lambs pushed him to release poorly received follow-ups with diminishing financial returns, largely recognised for the disservice done to their central character. Had the movies been created from a perspective of respect for the character and his potential then we might have seen a different series: a complex, risk-taking set of stories that explored evil in a way that engages the mind rather than lightly taps the adrenaline glands.
It is the case, of course, that Hannibal hasn’t destroyed the franchise in all its aspects. A much more grounded and better received television series – of the same name – aired in the last decade, and a new show called Clarice has just begun as an exploration of that character’s time with the FBI. However, the former show was cancelled after a mere three seasons, and the latter isn’t shaping up to be particularly well received. The franchise would likely be in a stronger position if Hannibal Lecter remained a byword for thrills and horror rather than also suggesting camp absurdity — an absurdity so unappealing it’s easy to imagine that Hannibal has been forgotten by many who saw it on release. Hannibal is not a cause but a symptom of Hollywood willing to undermine narrative integrity simply for cash, and hopefully it can act as a lesson to filmmakers of how not to stall a franchise as it starts.
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https://www.walmart.com/store/609-hannibal-mo/movie-store
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en
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Robot or human?
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Activate and hold the button to confirm that you’re human. Thank You!
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https://falconmovies.wordpress.com/2014/10/29/31-days-of-halloween-26-why-do-we-like-hannibal-the-serial-killer/
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en
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31 Days of Halloween 26 – Why do we like Hannibal the serial killer?
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2014-10-29T00:00:00
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At the end of the day, most audiences liked the ending to Silence of the Lambs (1991), where Hannibal Lecter plots revenge against his jailer. Why is this? Are our empathic buttons pressed so much that now we're rooting for serial killers? He's a CANNIBAL SERIAL KILLER. And while we don't see what happens, I…
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en
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https://s1.wp.com/i/favicon.ico
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Falcon at the Movies
|
https://falconmovies.wordpress.com/2014/10/29/31-days-of-halloween-26-why-do-we-like-hannibal-the-serial-killer/
|
At the end of the day, most audiences liked the ending to Silence of the Lambs (1991), where Hannibal Lecter plots revenge against his jailer. Why is this? Are our empathic buttons pressed so much that now we’re rooting for serial killers? He’s a CANNIBAL SERIAL KILLER. And while we don’t see what happens, I guess we can assume Hannibal ate the guy for dinner. He ate the guy. HE CHEWED FLESH AND DRANK BLOOD like friggin Dracula or something. And he gets sympathy in the movie, so much so that he spawned a series of movies, where he jaunts around and has more menacing fun.
Generally, the main characters in movies are the characters we identify with. There’s usually something in them, no matter how small, that makes us like them. I would have to say Hannibal is quite a distance from normal, except for his charming mannerisms. There are also worse things in Silence of the Lambs, as the movie quite clearly points out. Lecter is a gentlemen and seems calm, rational, only striking out when necessary. He commits murder on a whim, but only because the guy in the cell next to his insulted his newest obsession, Clarise, the FBI investigator. That’s not so bad, right?
One of the things even more evil than Hannibal is the serial killer Buffalo Bill. Clarise stumbles upon Buffalo Bill’s house by pure accident, but Hannibal’s help was invaluable in getting her there. This is likable. This is something a human being would do, not a monster like Buffalo Bill. In comparison, Buffalo Bill has no humanity, which the movie makes a point in showing.
I think this is what Hitchcock did in Psycho for Norman Bates and what the producers did for Walter White in Breaking Bad. Both of those guys are really villains. They’re evil and pretty much evil jackasses, yet audiences like them for their humanity. In comparison, Walter White is way more human than Hannibal, because he has a family and has had some hardships. I’m not sure why people like Norman Bates, but maybe it’s the underdog factor, or his personality.
Anthony Hopkins won an Oscar for his role as Hannibal Lecter and I agree. He is the best thing in the movie by far, and gives a great performance. We believe Hopkins is a total gentlemen and his menacing attitude works well too. His interaction with Jodie Foster produces some great moments.
The Journal of Forensic Sciences published an article in December of 2013 on psychopaths, which explains that Hannibal Lecter does not fit the definition. He is not a psychopath. Most scientists agree that a psychopath like Hannibal Lecter do not exist. They don’t exhibit the intelligence, charm, and empathy that Hannibal displays. The Journal describes most classic psychopaths as having no empathy. However, the “Hollywood Psychopath”, like Hannibal Lecter, is very common in movies.
Psychopaths do not have these traits, but Hollywood Psychopaths usually exhibit most of the following:
1. High intelligence and an affinity for cultural recreation like art or music
2. Somewhat vain or shy
3. Has or had a successful career
4. Calm and in control of himself or herself
5. Skill at killing people with blades or other objects
— Leistedt, S. J. and Linkowski, P. (2014), Psychopathy and the Cinema: Fact or Fiction?. Journal of Forensic Sciences, 59: 167–174. doi: 10.1111/1556-4029.12359
I think the Hollywood Psychopath developed through the maturity of the cinema, which desired to put the uncommon, shocking, and unusual on film. The value in putting a serial killer like Hannibal on film is extraordinary. We can experience talking and listening to Hannibal in a unique way. It is a unique experience. We couldn’t be able to do it otherwise, unless you know some serial killers living the down the street. However, as a real psychopath, Hannibal Lecter doesn’t fit the clinical definition, but for our purposes, he is an archetype.
Overall, Silence of the Lambs is a great movie. It won ‘best picture’ for a reason and Anthony Hopkins deserves his praise for his role. This proves that Hannibal Lecter is one of the most successful “Hollywood” psychopaths put to film, a character meant to emulate real life, not imitate it.
31 Days of Halloween Movie Marathon
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https://www.swank.com/digital-campus/details/19250-red-dragon
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en
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Movie and TV Show Licensing from Swank Motion Pictures
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How do you turn the everyday into something memorable? Show a movie. Share a TV show. Swank makes it easy with licensing options to fit you.
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https://www.swank.com/digital-campus/details/19250-red-dragon
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Red Dragon
(2002)
Synopsis
Hannibal Lecter helps an FBI agent track down a serial killer known as the "Tooth Fairy," but Lecter's penchant for sadistic games puts the agent's family in danger. Remake of "Manhunter."
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https://theberkshireedge.com/at-the-triplex-criminal-minds/
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AT THE TRIPLEX: Criminal minds
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[
"Ben Elliott"
] |
2024-08-02T04:12:07+00:00
|
What's coming up at The Triplex Cinema.
|
en
|
The Berkshire Edge
|
https://theberkshireedge.com/at-the-triplex-criminal-minds/
|
Movies have long been obsessed with serial killers, even before we had a name for them.
Early Hollywood was flush with stories of murder, though, thanks to the production code, they were usually supernatural monster movies like Tod Browning’s “Dracula.” Human monsters, meanwhile, were relegated to foreign productions like Alfred Hitchcock’s “The Lodger” and Fritz Lang’s “M.” Decades later, serial killer movies like Hitchcock’s “Psycho” and Michael Powell’s “Peeping Tom” would push the envelope so far that they helped end the production code altogether.
After that, as stories of real-life monsters began to make their way into the press, movies produced killer after killer, from Michael Myers to Hannibal Lecter and Patrick Bateman. The cinematic serial killer boom eventually bled into television procedurals and true crime podcasts, creating a thriving genre with no signs of slowing down. Even while the actual rate of serial murder has seen a steep decline since the early 2000s, we’ve become overwhelmed by so much murder-related content that serial killer stories can now seem ho-hum.
Enter “Longlegs,” which opens at The Triplex this week: A surprise hit that has broken through a summer of sequels with its story of an FBI agent on the hunt for a Satanic killer. Director Osgood Perkins (son of “Psycho” star Anthony Perkins) pulls from inspirations like “Silence of the Lambs,” “The Omen,” and “Annabelle” to create a hazy, off-putting production that keeps you anxious from the very first frame.
“Longlegs” strikes a nerve because its hero doesn’t truly understand what she’s up against or how she can stop it. It brings an uneasiness back into a genre that’s become synonymous with “comfort watching.” It reminds us that true evil is unknowable and that, even if they’re old news, serial killers are far from mundane.
NOW PLAYING
“Twisters”
A new generation of storm chasers comes to the big screen.
Lee Isaac Chung’s (“Minari”) follow-up to Jan De Bont’s 1996 disaster classic, “Twisters” follows a new generation of storm chasers as they put their lives on the line to learn more about nature’s most destructive storms. Led by rising stars Daisy Edgar-Jones (“Normal People)” and Glen Powell (“Hit Man”), “Twisters” is a throwback action movie for people who like their films as big and loud as possible. Ends Thursday!
“Deadpool & Wolverine”
Two of the biggest names in comics team up to save the multiverse (and break the fourth wall) in “Deadpool & Wolverine.” Ryan Reynolds and Hugh Jackman officially join the MCU in their signature foul-mouthed, violent fashion when these iconic superheroes are brought together to fight a new super-powered foe.
COMING SOON
“How to Come Alive with Norman Mailer”
Eleven bestselling books, two Pulitzer Prizes, six marriages, and nine children. Take an intimate look at the life of a towering figure of American literature in “How to Come Alive with Norman Mailer,” the new documentary from director Jeff Zimbalist. Join us on August 9th after the 7:15 screening when Maggie Mailer sits down with The Bookstore’s Matt Tannenbaum to discuss her father’s life and legacy. More tickets just released!
“It Ends With Us”
Romance returns to the big screen in “It Ends With Us.” Based on the best-selling novel by Colleen Hoover, “It Ends With Us” is the story of Lily (Blake Lively), a young woman who starts to see echoes of her traumatic childhood in her relationship with charming neurosurgeon Ryle (director Justin Baldoni). When Lily’s first love, Atlas, reenters her life and upends her relationship with Ryle, she must rely on her inner strength to decide her future. Opens August 9th.
“A Celebration of the Music Inn”
Woody Guthrie. Miles Davis. Bruce Springsteen. Bob Marley. For nearly three decades, the Music Inn hosted some of the biggest names in music history right here in the Berkshires. Celebrate the amazing legacy of The Music Inn with a weekend of film screenings, panel discussions, interviews, exhibits and live music. Festivities kick off at the Lions Den on August 9th and 10th, with a day-long festival of screenings, interviews, and music coming to The Triplex on August 11th.
“Dory Previn: On My Way to Where”
“Dory Previn: On My Way to Where” follows the life of acclaimed singer songwriter (and longtime Berkshires resident) Dory Previn from her start as an Academy Award-nominated lyricist for Hollywood musicals through a public breakdown following a tabloid scandal and her re-emergence as a cult artist in the Laurel Canyon scene.
Director Julia Greenberg & animator Emily Hubley will join us for a talkback following this advance screening on August 17th.
“Bill Cunningham New York”
One of the most joyful documentaries of the 21st century, we’re thrilled to have director Richard Press and producer Philip Gefter join us for a screening of their 2011 documentary “Bill Cunningham New York” on August 14th. Following the famed fashion photographer as he documents New York from his bicycle, the film also sits down with Cunningham’s famous friends (and frequent subjects) including Tom Wolfe, David Rockefeller and Vogue magazine’s Anna Wintour.
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https://www.nytimes.com/2001/02/09/movies/film-review-whetting-that-large-appetite-for-second-helpings.html
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en
|
FILM REVIEW; Whetting That Large Appetite for Second Helpings
|
[] |
[] |
[] |
[
""
] | null |
[
"The New York Times",
"Elvis Mitchell"
] |
2001-02-09T00:00:00
|
This sequel to "The Silence of the Lambs" is a movie for the whole family — the Manson family. It's more gruesome than frightening, with more state-of-the-art organs and arterial sprays than a season of "E.R." Anthony Hopkins returns as Dr. Hannibal Lecter, the world's wiliest working cannibal and serial killer, who serves up a cast that includes Ray Liotta, Gary Oldman and Giancarlo Giannini, whose doleful manner gives the movie a rare touch of humanity. (Frankie R. Faison supplies the other warmth.) Julianne Moore, as the F.B.I. agent Clarice Starling, is game but almost superfluous: Hannibal himself is rendered in such operatic terms that you half expect Hopkins to burst into an Andrew Lloyd Webber song. The director Ridley Scott delivers a movie that glows in various degrees of midnight blue, a soothing contrast to the sea of crimson that the titular figure unleashes. — Elvis Mitchell
|
en
|
/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
|
https://www.nytimes.com/2001/02/09/movies/film-review-whetting-that-large-appetite-for-second-helpings.html
|
''He's a very dangerous man,'' the F.B.I. agent Clarice Starling (Julianne Moore) says of Dr. Hannibal Lecter (Anthony Hopkins), and she's right. Lecter is the world's wiliest cannibal at large, as his two previous filmed adventures, ''Manhunter'' and ''The Silence of the Lambs,'' clearly established. So he's definitely the type to be handled with kid gloves.
''Hannibal,'' a silly though handsomely staged adaptation of the Thomas Harris novel directed by Ridley Scott, is a movie meant for the whole family -- the Manson family. Mr. Scott's presentation is mournfully beautiful; rarely has a director used so many variations on midnight blue. And he uses it as a visual palliative, a soothing contrast to the arterial sprays of crimson that occasionally flood the screen.
The camera regards the displays of violence and maiming with a rapt awe; it is fascinated by layers of scar tissue and exposed organs. Yet despite the gruesome operatic staging, the movie is not particularly dramatic. It is Swift's ''Modest Proposal'' without a sense of humor, apt but pat and bizarrely respectful and florid. An exhausted sense of dread looms over the proceedings.
As the movie begins, an attempt by Clarice's team to capture a fugitive goes wrong. The empathetic F.B.I. agent's own personal Waco ends in a shower of ice chips, sparks and Mountain Dew, leaving her flabbergasted and hurt. Her public humiliation at the hands of her vicious superior, Paul Krendler (Ray Liotta), makes the news and catches the eye of Lecter, at large well before the ending of ''Lambs.'' Lecter is now leading a life of leisure as a Renaissance scholar and lecturer in Florence, Italy.
But he has been spotted by a police detective, Pazzi (Giancarlo Giannini), who is out to bring Lecter in for the reward. And a Lecter victim, Mason Verger (Gary Oldman), a child molester and serial killer whom Lecter persuaded to flay his own face, wants revenge. ''Lecter's object has always been degradation and suffering,'' Verger says through the remains of his facial structure, a comment that could sum up ''Hannibal'' except that the movie is monumentally disengaged from an ability to frighten.
Mr. Hopkins is the draw here, and he is unafraid to return as Lecter in a sequel (though ''Silence'' itself was a sequel to ''Manhunter,'' a movie not very many people saw). ''Hannibal'' builds to his first appearance, which comes about a half-hour into the film, sporting a big rakish Panama hat.
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http://mysterymanonfilm.blogspot.com/2006/09/character-depth-hannibal-lecter.html
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Mystery Man on Film: Character Depth
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http://mysterymanonfilm.blogspot.com/favicon.ico
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http://mysterymanonfilm.blogspot.com/favicon.ico
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"View my complete profile",
"Mystery Man"
] | null |
From Pat (GimmeABreak) : Hannibal Lecter ( Silence of the Lambs , Hannibal , and Red Dragon ) - One of my fave characters ever. That a soci...
|
http://mysterymanonfilm.blogspot.com/favicon.ico
|
http://mysterymanonfilm.blogspot.com/2006/09/character-depth-hannibal-lecter.html
| |||||
5824
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dbpedia
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https://www.wired.com/2001/06/hannibals-hors-doeuvre/
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en
|
Hannibal's Hors D'oeuvre
|
https://media.wired.com/photos/66be44e1e5e0286b239ff7ec/1:1/w_350%2Ch_350%2Cc_limit/undefined
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[] |
[
""
] | null |
[
"Lily Hay Newman",
"Matt von Hippel",
"Angela Watercutter",
"Matt Kamen",
"Jennifer M. Wood",
"Chris Nashawaty",
"Condé Nast"
] |
2001-06-13T09:40:00-04:00
|
Universal Pictures plans on bringing bloodthirsty Hannibal Lecter back to the big screen in a "prequel" to the 1991 smash-thriller .
|
en
|
https://www.wired.com/verso/static/wired/assets/favicon.ico
|
WIRED
|
https://www.wired.com/2001/06/hannibals-hors-doeuvre/
|
LOS ANGELES -- Universal Pictures is moving ahead with plans to bring bloodthirsty Hannibal Lecter back to the big screen in a "prequel" to the 1991 hit Silence of the Lambs and recent follow-up Hannibal, Daily Variety reported in its Wednesday edition.
Director Brett Ratner (Rush Hour, The Family Man) is in talks with Universal to receive about $4 million to direct Red Dragon, an adaptation of Thomas Harris' 1981 best-selling crime thriller that first introduced Hannibal "the Cannibal" to readers, Variety said.
Anthony Hopkins is in negotiations to reprise his Oscar-winning Lecter role for Dragon, depending on the script, according to the entertainment trade paper.
It said Universal, the studio arm of Vivendi Universal, will finance the picture and release it worldwide.
Dino De Laurentiis, who produced Hannibal, will return to produce the Red Dragon with Martha De Laurentiis.
Academy Award-winning screenwriter Ted Tally (The Silence of the Lambs) came aboard the project last November to adapt Red Dragon, a predecessor to both "The Silence of the Lambs" and Hannibal, Variety said.
The story opens with Lecter being arrested for the first time by ex-FBI agent Will Graham, a top investigator who quit the bureau after nearly becoming one of Lecter's victims.
"Red Dragon" was previously made into the 1986 picture "Manhunter," directed by Michael Mann and produced by the De Laurentiises. The new film will incorporate elements of the book not seen in "Manhunter."
Universal and De Laurentiis last collaborated on Ridley Scott's "Hannibal," starring Hopkins and Julianne Moore, which has grossed $180 million overseas and $165 million domestically to date. MGM handled domestic marketing and distribution while Universal is distributing that film internationally.
Besides winning Tally a screenplay Oscar, Silence of the Lambs won the Academy Award for best picture and earned Oscars for Hopkins, co-star Jodie Foster and director Jonathan Demme.
"Dragon" will reteam Ratner with Universal after his last success with the studio directing romantic fantasy "The Family Man," starring Nicolas Cage and Tea Leoni.
Ratner also recently directed the Jackie Chan hit "Rush Hour" and its upcoming sequel "Rush Hour 2."
Tally's credits include adaptations of the novels "All the Pretty Horses," "The Juror" and "White Palace."
The 30 Best Movies on Hulu This Week
Immaculate, Casino, and Get Out are just a few of the movies you need to watch on Hulu right now.
The Untold Story of How Ridley Scott Saw Star Wars—and Ended Up Making Alien
In 1977, Ridley Scott was considering making a medieval period piece. Then he saw Star Wars and set about making two sci-fi classics, Alien and Blade Runner.
The 30 Best Movies on Max (aka HBO Max) Right Now
Love Lies Bleeding, Dune: Part Two, and Beetlejuice are just a few of the movies you should be watching on Max this month.
People Are Big Mad About the House of the Dragon Season 2 Finale
“Did I just watch a 70 minute trailer for Season 3?” is just one of the reactions fans have posted online about the season's "disappointing and poorly executed" closer.
The 21 Best Movies on Apple TV+ Right Now
Fancy Dance, The Velvet Underground, and Argylle are just a few of the movies you should be watching on Apple TV+ this month.
The 52 Best Shows on Disney+ Right Now
Arctic Ascent With Alex Honnold, X-Men ’97, and Star Wars: Young Jedi Adventures are just a few of the shows you should be watching on Disney+ this month.
The 36 Best Shows on Amazon Prime Right Now
The Boys, Batman: Caped Crusader, and Fallout are just a few of the shows you should be watching on Amazon Prime Video this week.
The Week of Brat Summer Will Go Down in Internet History
After Charli XCX declared that Vice President Kamala Harris “IS brat,” nothing was the same.
|
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1
| 69
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https://celluloidjunkie.com/2016/04/22/universal-first-studio-embrace-aces-fully/
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|
CJ @ NAB: Universal First Studio to Embrace ACES Fully
|
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] | null |
[
"Patrick von Sychowski",
"Deluxe Europe",
"now writes"
] |
2016-04-22T00:00:00
|
AMPAS' Andy Maltz provided an update on ACES at NAB 2016 and Universal will be first studio to embrace the system fully by 2018.
|
en
|
Celluloid Junkie
|
https://celluloidjunkie.com/2016/04/22/universal-first-studio-embrace-aces-fully/
|
ACES is one of those concepts that is little known or understood outside a small group of post-production people and technologists, but hugely important to the future of the film and television industry. So important in fact that the Academy of Motion Pictures Arts and Science (AMPAS) agreed to the use of its famous statuette in its logo. Even though AMPAS spearheaded ACES it is still unprecedented for it to use the Oscar statue outside of awards context.
The Academy Color Encoding System (ACES), explained in the most simple terms, is “the industry standard for managing color throughout the life cycle of a motion picture or television production.” So why should that matter? Because making movies and television shows is getting more complicated with the involvement of different digital cameras, post-production facilities around the world, visual effects shot of ever-greater complexity and a plethora of devices to watch it on, from your smartphone, through your OLED TV set all the way through to the Imax screen.
[youtube]https://www.youtube.com/watch?v=DX5tQix9NbY[/youtube]
ACES means that if the “Wizard of Oz” was shot today, Dorothy’s ruby shoes would always have the exact same colour as the director and cinematographer captured on set and tweaked in color grading. With the danger of proprietary standards from manufacturers coming to dominate how film and shows were produced, AMPAS (or the Academy) stepped in not just to “ensures a consistent color experience that preserves the filmmaker’s creative vision,” but also to enable restoration and preservation of films that will look in decades how they were first seen by audiences last century. So that Dorothy’s ruby shoes will always look the same.
So while it is hard to get a typical film professional excited about ACES, never mind audiences, it is something that is important for us all. Fortunately ACES is getting major buy-in from creatives, vendors and service providers, as well as time and attention at international gatherings such as NAB and IBC. It was at NAB that we got an update on ACES 1.0, as well as some major breaking news from Universal, who are going all-in for ACES as the first Hollywood studio to do so.
Andy Maltz, Managing Director of AMPAS’ Science and Technology Council (SciTech Council), began by giving an overview of ACES and where adoption was at with regards to ACES 1.0, which was launched at NAB last year. It consists of 17 specifications and tools, as well as a high dynamic range (HDR) ‘starter pack’, including ST 2084 Display Transform. There was also an announcement about the ACES Logo program and education and training initiatives.
Since then 25 companies have signed up for the ACES logo program and all deployed ACES 1.0 components. Interestingly ACES is being used in places the Academy was not even aware of or had promoted it, such as last year’s South Indian monster hit “Bahubali” that employed an ACES workflow, having done their homework on how to utilise it completely on their own. You can find a partial list of ACES films on IMDB.
Not just film but television productions such as “Deliverance Creek” also employ ACES. Special effects facilities like ILM have used it for films like “The Martian”, “Captain America: Civil War”, “Rogue One” and “Star Wars VIII”. On the gaming side it was employed in Epic’s Unreal Engine v4.8, for graphics in Nvidia GPU drivers and even in academia in coursework at Bayler and RIT.
ACES has not only been a success in its first year but also required very few tweaks, with ACES 1.0.1 patch fixing typos and small bugs. The next version will be adding support for certain colonist styles and new “working space.” AMPAS has also launched a series of ACES Now! training videos.
For the ACES Archiving Standard, the Academy is doing its part to solve the Digital Dilemma. For archiving purposes the idea is to use existing standards wherever possible, such as wrap ACES2065-4 images in MXF. All six Hollywood studios (whose films need preserving), as well as Dolby and other vendors have agreed. And next we heard from one of those studios.
Wade Hanniball, SVP, D-Cinema Operations & Technology at Universal Pictures, opened his presentation by stating that “our hope is that ACES will be universally adopted, and that way Universal will adopt ACES.” He then went on to outline Universal’s aspirations and inspirations for ACES.
Hanniball saw ACES as a “response to rappid rise of new technology that affect motion pictures. New tools result in surge in new formats. These make timely mastering difficult with added expense; puts added expense on shrinking timelines.” He went on to state that “our studio is partial to open and no-proprietary standards.”
Universal’s view is that “the ACES toolkit is well defined and robust.” He also emphasised the need to have the ability to apply ACES to their 35mm restoration efforts. “Archival format has to be long lasting and flexible enough to adapt to new formats,” Hanniball noted. “No point re-inventing it in 20 years time.”
For Universal ACES would come into play first “for back catalogue restoration titles and then progress to new releases. That will require outreach and planning.” But, Hanniball emphasised, “We think ACES is worth the effort and it is the future of moption picture imagery.”
This is why Universal has committed to have switched over completely to ACES by the first quarter of 2018. It is the first Hollywood studio to have given an outright commitment to ACES and a firm date. “The ACES Space is the Place,” Hanniball concluded.
The third and last speaker was Chris Clark, Production Engineer, Original Content for Netflix, which he pointed out is both a streaming operation and a studio these days. Netflix is producing 600 hours of original content in 2016, which includes feature films, TV series, documentaries and comedy specials. Hundreds of different facilities are used for post-production. “We are a nimble company. We rely on our partners,” he said.
But with such a global operation you need consistency. “Color does not need to change from facility to facility,” Clark stated. “Math does not need to change. We accomplish this by setting standards in the industry. Focus on display standards. That used to be the projector.” ACES for Netflix is the new negative. “What you see is ALL you get” or ‘WYSIAYG’, as Clark was almost able to pronounce.
ACES is used on Netflix’s shows and it’s first films, such as “Ridiculous 6.” Clark joked that while the film was not recognized by Academy, to laughs from the audience, it was shot by Deam Semler, who won an Oscar for “Dances With Wolves”. The film used ACES, shot 4K RAW and also output in Dolby Vision. “Why we like ACES: Open source, Cross Platform, Future Proof. Archive the Negative, not just the Print,” Clark concluded.
AMPAS might not have completely solved the Digital Dilemma with ACES, but it has gone a long way to address the issue, as well as given creatives, vendors, service providers and post-houses the best possible set of tools for preserving the artistic integrity and vision for every type of moving image. This is why you should know about ACES.
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How To Watch The Hannibal Movies In Order
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2023-03-06T06:12:29+00:00
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Are you interested in watching the Hannibal movies in order? Here is all you will need to know about this movie series.
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en
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Speechify
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https://speechify.com/audiobooks/blog/watch-the-hannibal-movies-in-order/
|
Are you a fan of Hannibal Lecter? If so, you might want to know more about the movies and how to watch the Hannibal Lecter movies in order.
About the series
The Hannibal series is inspired by the book series by Thomas Harris, and the first book was published in 1981. Over the years, these books inspired numerous adaptations, including highly successful movies and TV series.
The main focus is on Dr. Hannibal Lecter, a cannibalistic serial killer. He spent some time as a forensic psychiatrist, and after he was arrested, he helped FBI profilers catch other serial killers and psychopaths.
Movies in order of release
The first movie adaptation came out in 1986, but it wasn’t as successful as some other versions. And, of course, everyone knows of the iconic movie that inspired several sequels, won numerous awards, and so much more.
Manhunter (1986)
The first movie about Hannibal Lecktor had the release date in 1986, and it’s called Manhunter. The movie is an adaptation of the first book by Thomas Harris called Red Dragon. The story follows Will Graham after he retired from the FBI.
He was forced to talk to Hannibal (whom he arrested) and ask for his help regarding a new case. Graham returns from retirement and has to focus on facing his fears. Hannibal was played by Brian Cox, and the movie was directed by Michael Mann.
Other roles include Tom Noonan, William Petersen, Dennis Farina, Kim Greist, and others.
The Silence of the Lambs (1991)
The Silence of the Lambs is probably the most popular version that arrived on the big screen, and it is an adaptation of the 1988 novel of the same name. Hannibal Lecter is played by Sir Anthony Hopkins, it was directed by Jonathan Demme, and the movie won five Oscars.
Other roles include Jodie Foster as Clarice Starling, Scott Glenn, Ted Levine as Jame “Buffalo Bill” Gumb, and others. It is the only horror movie that won the Academy Award for Best Picture and Best Director.
Hannibal (2001)
Hannibal is a direct sequel to The Silence of the Lambs, and it was released in 2001. Hopkins continues to play the role of Hannibal Lecter, and it is based on the novel Hannibal from 1999.
The movie was a commercial success, and while it was successful at the box office, it was not nearly as popular and praised as the first one. There are also a couple of differences compared to the book, with Jack Crawford being left out as the most notable one.
Red Dragon (2002)
Red Dragon is the first prequel to the story, and Anthony Hopkins returns once again to play Lector. The movie is based on the first novel by Thomas Harris, and the series finally got to cover the story.
It is also the second adaptation of the origin story, with the first one being Manhunter from 1986.
Hannibal Rising (2007)
Hannibal Rising is the second prequel to The Silence of the Lambs and Hannibal, and it was released in 2007. The story is an adaptation of Thomas Harris’ novel from 2006, and it was received with mixed reviews.
One of the main differences compared to the first three Hannibal Lecter films is that Anthony Hopkins isn’t playing Hannibal Lecter. Instead, Gaspard Ulliel is in the main role. Other roles include Gong Li, Dominic West, Rhys Ifans, Helena-Lia Tachovksa, and many others.
Movies in chronological order
If you are a fan of horror movies and stories about the most famous cannibal, you can always watch movies in chronological order. This will give you a different look at the story, and you will be able to experience these five movies in a whole new way.
As you can probably imagine, you will start with the prequel movies and work your way through the series. You can also check out the popular TV show where Hannibal was played by Mads Mikkelsen with Hugh Dancy as Will Graham. It is available on Netflix, but it was originally made by CBS.
Hannibal Rising (2007)
While Hannibal Rising is the most recent film about Hannibal Lecter, it is the first story in chronological order. Both the movie and the book from 2006 are prequel stories, and they happen before the rest of the series.
It is a nice introduction to the story, and you will get a chance to get a glimpse into the life of a young Hannibal Lecter.
Red Dragon (2002)
The first book in the series is the second story in chronological order, and the movie adaptation was released in 2002. Besides Anthony Hopkins, other roles include Edward Norton, Ralph Fiennes as the Tooth Fairy, Harvey Keitel, Emily Watson, Mary-Louise Parker, Philip Seymour Hoffman, and many others.
The movie was directed by Brett Ratner.
The Silence of the Lambs (1991)
The third movie in chronological order is The Silence of the Lambs from 1991. It is one of the best horror movies of all time, and everything about it is simply thrilling. It is also one of the main reasons why the series continued for so long.
Hannibal (2001)
The last story in the original series, in chronological order, is Hannibal from 2001. The movie was directed by Ridley Scott, and other roles (besides Anthony Hopkins) are Julianne Moore, Ray Liotta, Frankie R. Faison, Gary Oldman as Mason Verger, and many others.
The movie was successful, but not as successful as The Silence of the Lambs. But not many movies are as successful.
Manhunter (1986)
Finally, you can watch Manhunter from 1986, which is the adaptation of the first novel, but it is a stand-alone story. There were a couple of licensing issues when filming the movie, which is why the name of the main character is spelled Lecktor.
You might notice people write the name as Hannibal Lector as well, but it is an incorrect spelling.
Audiobooks
If you are interested in learning more about Dr. Lecter and checking out all the stories Thomas Harris wrote, the simplest way is to listen to audiobooks.
Listen to Hannibal audiobooks with Speechify
If you are interested in getting one of the best, if not the best, audiobook platform, Speechify is the answer. The app is available across multiple platforms, it’s easy to use, and the quality is superb.
You will also get access to the latest novels, thousands of writers, and many different genres. You can explore Thomas Harris’ bibliography, including Red Dragon, The Silence of the Lambs, and many more horror stories by other authors. The high-quality listening experience will make you fall in love with audiobooks. Download Speechify Audiobooks today and give it a try for free.
FAQ
Is Red Dragon a sequel to Hannibal?
Red Dragon is a sequel to Hannibal, but only in terms of publishing. The story is a prequel, and it is based on the first book Thomas Harris wrote. So, the movie was released after Hannibal, but the story is set years before.
Is Manhunter and Red Dragon the same movie?
Manhunter and Red Dragon are not the same movies. However, both are based on the same story. The novel was written by Thomas Harris, and it is called Red Dragon.
Is Red Dragon before Silence of the Lambs?
Yes, Red Dragon is the first novel in the Hannibal series by Thomas Harris, and the events are set before The Silence of the Lambs.
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https://gruesomemagazine.com/2024/01/11/details-of-radio-silences-untitled-universal-horror-movie-revealed-abigail/
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Details of Radio Silence's Untitled Universal Horror Movie Revealed, ABIGAIL
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2024-01-11T00:00:00
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Woot! Woot! Even without any details and based on Radio Silence directing and cast alone, most of the Grue-Crew placed the [at the time] Untitled Universal Horror Movie on their...
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en
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Gruesome Magazine
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http://gruesomemagazine.com/2024/01/11/details-of-radio-silences-untitled-universal-horror-movie-revealed-abigail/
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Woot! Woot! Even without any details and based on Radio Silence directing and cast alone, most of the Grue-Crew placed the [at the time] Untitled Universal Horror Movie on their Most Anticipated Horror Movies of 2024 list. Today, finally, Universal has released the first trailer and the first details about the film online: ABIGAIL! Looks like the “Dracula’s Daughter” rumors were not too far off the mark. The trailer looks fantastic, the cast is stellar, the direction looks to be Radio Silence’s best yet. Let’s move ABIGAIL up the list of most anticipated to number one! Check out the trailer below.
Children can be such monsters.
After a group of would-be criminals kidnap the 12-year-old ballerina daughter of a powerful underworld figure, all they have to do to collect a $50 million ransom is watch the girl overnight. In an isolated mansion, the captors start to dwindle, one by one, and they discover, to their mounting horror, that they’re locked inside with no normal little girl.
From Radio Silence—the directing team of Matt Bettinelli-Olpin and Tyler Gillett behind the terrifying modern horror hits Ready or Not, 2022’s Scream and last year’s Scream VI—comes a brash, blood-thirsty new vision of the vampire flick, written by Stephen Shields (The Hole in the Ground, Zombie Bashers) and Guy Busick (Scream franchise, Ready or Not).
Abigail stars Melissa Barrera (Scream franchise, In the Heights), Dan Stevens (Gaslit, Legion), Kathryn Newton (Ant-Man and the Wasp: Quantumania, Freaky), William Catlett (Black Lightning, True Story), Kevin Durand (Resident Evil: Retribution, X-Men Origins: Wolverine) and Angus Cloud (Euphoria, North Hollywood) as the kidnappers and Alisha Weir (Roald Dahl’s Matilda the Musical, Darklands) as Abigail.
The film is produced by William Sherak (Scream franchise, Ready or Not), Paul Neinstein (Scream franchise; executive producer, The Night Agent) and James Vanderbilt (Zodiac, Scream franchise) for Project X Entertainment, by Tripp Vinson (Ready or Not, Journey 2: The Mysterious Island) and by Radio Silence’s Chad Vilella (executive producer Ready or Not and Scream franchise). The executive producers are Ron Lynch and Macdara Kelleher.
Genre: Horror
Cast: Melissa Barrera, Dan Stevens, Alisha Weir, Kathryn Newton, William Catlett, Kevin Durand, Angus Cloud and Giancarlo Esposito
Directors: Matt Bettinelli-Olpin, Tyler Gillett
Written by: Stephen Shields, Guy Busick
Producers: William Sherak, Paul Neinstein, James Vanderbilt, Tripp Vinson, Chad Villella
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https://en.wikipedia.org/wiki/Hannibal_Lecter_(franchise)
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en
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Hannibal Lecter (franchise)
|
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2013-04-09T14:49:50+00:00
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en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Hannibal_Lecter_(franchise)
|
Media franchise based on titular serial killer
Hannibal LecterCreated byThomas HarrisOriginal workRed DragonOwnerAmazon MGM Studios
(through Orion Pictures unit)Years1981–presentPrint publicationsNovel(s)
Red Dragon (1981)
The Silence of the Lambs (1988)
Hannibal (1999)
Hannibal Rising (2006)
Films and televisionFilm(s)
Manhunter (1986)
The Silence of the Lambs (1991)
Hannibal (2001)
Red Dragon (2002)
Hannibal Rising (2007)
Television series
Hannibal (2013–2015)
Clarice (2021)
The Hannibal Lecter franchise is an American media franchise based around the titular character, Hannibal Lecter, a brilliant, cannibalistic serial killer whose assistance is routinely sought out by law enforcement personnel to aid in the capture of other criminals. He originally appeared in a series of novels (starting with Red Dragon in 1981) by Thomas Harris. The series has since expanded into film and television, having four timeline-connected franchise films produced by Dino De Laurentiis Company: The Silence of the Lambs (1991), Hannibal (2001), Red Dragon (2002) and Hannibal Rising (2007), with three starring Anthony Hopkins.
Novels
[edit]
Red Dragon (1981)
[edit]
Main article: Red Dragon (novel)
The Silence of the Lambs (1988)
[edit]
Hannibal (1999)
[edit]
Main article: Hannibal (Harris novel)
Hannibal Rising (2006)
[edit]
Main article: Hannibal Rising
Films
[edit]
Film U.S. release date Director(s) Screenwriter(s) Producer(s) Manhunter August 15, 1986 ( ) Michael Mann Richard A. Roth The Silence of the Lambs February 14, 1991 ( ) Jonathan Demme Ted Tally Ron Bozman, Kenneth Utt & Edward Saxon Hannibal February 9, 2001 ( ) Ridley Scott David Mamet & Steven Zaillian Ridley Scott, Dino De Laurentiis & Martha De Laurentiis Red Dragon October 4, 2002 ( ) Brett Ratner Ted Tally Dino De Laurentiis & Martha De Laurentiis Hannibal Rising February 9, 2007 ( ) Peter Webber Thomas Harris Tarak Ben Ammar, Dino De Laurentiis & Martha De Laurentiis
Manhunter (1986)
[edit]
Main article: Manhunter (film)
The first adaptation was the 1986 film Manhunter, which was an adaptation of Red Dragon, directed by Michael Mann. Brian Cox stars as Hannibal Lecter (in the film, the surname is changed to Lecktor).
The Silence of the Lambs (1991)
[edit]
The next adaptation was 1991's The Silence of the Lambs, which was directed by Jonathan Demme and was the first film to feature Anthony Hopkins in the role of Hannibal Lecter. Silence was a success, both critically and financially, and went on to become the third film in Academy Awards history to win in all top five categories (Best Actor for Hopkins, Best Actress for Jodie Foster, Best Director for Demme, Best Adapted Screenplay for Ted Tally, and Best Picture).
Hannibal (2001)
[edit]
Main article: Hannibal (2001 film)
Hopkins reprised the role in 2001's Hannibal, a sequel directed by Ridley Scott.
Red Dragon (2002)
[edit]
Main article: Red Dragon (2002 film)
Hopkins once again reprised the role in Red Dragon, a prequel directed by Brett Ratner. In 2002, Hopkins revealed that he had written a screenplay for another sequel, ending with Clarice Starling killing Lecter, but it was not produced.[1]
Hannibal Rising (2007)
[edit]
Main article: Hannibal Rising (film)
In 2007, Hannibal Rising was released. The film is a prequel, directed by Peter Webber and starring Gaspard Ulliel as Lecter.
Television
[edit]
Series Seasons Episodes First released Last released Showrunner(s) Network(s) Hannibal 3 39 April 4, 2013 ( ) August 29, 2015 (2015-08-29) Bryan Fuller NBC Clarice 1 13 February 11, 2021 ( ) June 24, 2021 ( ) Jenny Lumet & Alex Kurtzman CBS
Hannibal (2013–2015)
[edit]
Main article: Hannibal (TV series)
In 2013, the TV series Hannibal premiered. Developed by Bryan Fuller, it is not a direct adaptation, but based on characters and elements from the novels. Some male characters have become female, such as Freddy Lounds, who is renamed Fredricka "Freddie" Lounds. The series has garnered much critical acclaim since its premiere, winning the 2014 and 2015 Saturn Awards for Best Network Television Series, as well as the inaugural Best Action-Thriller Television Series award in 2016.
Clarice (2021)
[edit]
Main article: Clarice (TV series)
In May 2012, Lifetime announced to develop a television series centered on Starling after her graduation from the FBI academy, which was to be produced by MGM;[2] the project was never picked up and was shelved. CBS later developed the series of the same name, with Alex Kurtzman and Jenny Lumet as producers, as a sequel to The Silence of the Lambs set in 1993,[3] starring Rebecca Breeds as Starling.[4] The show premiered in 2021.
Cast and characters
[edit]
Character Films Television series Manhunter The Silence of the Lambs Hannibal Red Dragon Hannibal Rising Hannibal Clarice 1986 1991 2001 2002 2007 2013–2015 2021 Hannibal Lecter Brian Cox
(as Hannibal Lecktor) Anthony Hopkins Gaspard UllielAaran Thomas Mads Mikkelsen Clarice Starling Jodie FosterMasha Skorobogatov Julianne Moore Rebecca BreedsMaya McNair Will Graham William Petersen Edward Norton Hugh Dancy Jack Crawford Dennis Farina Scott Glenn Harvey Keitel Laurence Fishburne Frederick Chilton Benjamin Hendrickson Anthony Heald Anthony Heald Raúl Esparza Francis Dolarhyde
(The Tooth Fairy) Tom Noonan
(as Francis Dollarhyde) Ralph FiennesAlex D. Linz Richard Armitage Buffalo Bill
(Jame Gumb) Ted Levine Simon Northwood Barney Matthews Frankie Faison Jonathan Tucker
(as Matthew Brown) Freddy Lounds Stephen Lang Philip Seymour Hoffman Lara Jean Chorostecki
(as Fredricka "Freddie" Lounds) Mason Verger Gary Oldman Michael Pitt
Joe Anderson Paul Krendler Ron Vawter Ray Liotta Cynthia Nixon
(as Kade Prurnell)[5] Michael Cudlitz Reba McClane Joan Allen Emily Watson Rutina Wesley Molly Graham Kim Greist Mary-Louise Parker Nina Arianda Rinaldo Pazzi Giancarlo Giannini Fortunato Cerlino Cordell Doemling Željko Ivanek Glenn Fleshler Margot Verger Katharine Isabelle Vladis Grutas Rhys Ifans Lady Murasaki Gong Li Alan Bloom Paul Perri
(as Sidney Bloom) Caroline Dhavernas
(as Alana Bloom) Beverly Katz Michele Shay Elizabeth Dennehy
(as Beverly) Hettienne Park Jimmy Price Dan Butler Stanley Anderson Scott Thompson Brian Zeller Chris Elliott
(as Zeller) Aaron Abrams Lloyd Bowman Bill Smitrovich Ken Leung Chiyoh Tao Okamoto Bedelia Du Maurier Gillian Anderson Abel Gideon Eddie Izzard Ardelia Mapp Kasi Lemmons Devyn A. Tyler Catherine Martin Brooke Smith Marnee Carpenter Ruth Martin Diane Baker Jayne Atkinson
Reception
[edit]
Box office performance
[edit]
The Hannibal Lecter films, when compared to other top-grossing American horror franchises—Alien vs. Predator, Candyman, Child's Play, The Conjuring, The Exorcist, Evil Dead, Final Destination, Friday the 13th, Halloween, Hellraiser, I Know What You Did Last Summer, Jaws, A Nightmare on Elm Street, The Omen, Paranormal Activity, Psycho, The Purge, Saw, Scream, and The Texas Chainsaw Massacre—is one of the highest grossing horror film franchises.
Critical reception
[edit]
Title Rotten Tomatoes Metacritic Manhunter 94% (49 reviews)[6] 75 (22 reviews)[7] The Silence of the Lambs 95% (153 reviews)[8] 86 (20 reviews)[9] Hannibal 39% (172 reviews)[10] 57 (36 reviews)[11] Red Dragon 69% (191 reviews)[12] 60 (36 reviews)[13] Hannibal Rising 16% (148 reviews)[14] 35 (30 reviews)[15] Hannibal - Season 1 (2013) 82% (68 reviews)[16] 70 (32 reviews)[17] Hannibal - Season 2 (2014) 98% (45 reviews)[18] 88 (14 reviews)[19] Hannibal - Season 3 (2015) 98% (47 reviews)[20] 84 (15 reviews)[21] Clarice 42% (48 reviews)[22] 56 (33 reviews)[23]
Musical
[edit]
In 2005, comedian-musicians Jon and Al Kaplan, most famous for their musical re-imaginings of popular films as YouTube musicals, parodied The Silence of the Lambs, especially the film version, in Silence! The Musical. It premiered Off-Off-Broadway and has since had acclaimed productions in London (2009) and Los Angeles (2012). In 2012, it won the Los Angeles Drama Critics Circle – Score, Lead Performance, Choreography Award.[24]
In 2016, rock band Conan Neutron & the Secret Friends released their second record, The Art of Murder,[25] a concept album which was "directly inspired by the Hannibal Lecter series of books by Thomas Harris".[26]
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https://libraries.sa.gov.au/client/en_AU/npsp/search/detailnonmodal/ent:%24002f%24002fSD_ILS%24002f0%24002fSD_ILS:2708337/ada%3Fqu%3DAUTHOR%253D%2522Oldman%252C%2BGary.%2522%26d%3Dent%253A%252F%252FSD_ILS%252F0%252FSD_ILS%253A2708337%257EILS%257E59%26ic%3Dtrue%26ps%3D300%26h%3D8
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en
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System Error
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We're sorry; this application has encountered an error. You may try clicking the browser Back button to return to the previous page or clicking the button below to return to the library's home page. If you get this error again, contact the library for assistance.
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https://www.theguardian.com/film/2021/nov/04/ridley-scott-films-ranked
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en
|
Ridley Scott films – ranked!
|
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"Peter Bradshaw",
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2021-11-04T00:00:00
|
With The Last Duel out now, and House of Gucci at the end of the month, we rate the top 20 movies by the go-to director for swords, sandals, cyborgs and Sigourney
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en
|
the Guardian
|
https://www.theguardian.com/film/2021/nov/04/ridley-scott-films-ranked
|
20. A Good Year (2006)
A film to prove that straight-up feelgood comedy is not Ridley Scott’s forte and casting his favourite leading man is no guarantee of success, either. This is based on a novel by Peter “A Year in Provence” Mayle: incredibly, it is Russell Crowe playing the quirkily conceited yet adorable Brit who inherits a sumptuous house-plus-vineyard in the south of France, comes over intending to sell it, but instead falls in love with the place and all the picturesque Frenchness thereabouts, including Marion Cotillard.
19. Kingdom of Heaven (2005)
A director’s cut was later to redeem some of its reputation but basically this period action movie from war-torn 12th-century Europe still feels like a bombastic liberal fantasy. Orlando Bloom plays a young blacksmith – the illegitimate son of nobleman Liam Neeson – who joins the Crusades not to drive the Muslims out of the Holy Land, but to broker peace. Weirdly, Scott returned to the tricky issue of the Crusades in Robin Hood (see below).
18. Black Rain (1989)
Here is Michael Douglas in his action-lead heyday, playing a tough and ruthless cop adrift in Japan’s smoky, rainy, neon-lit Osaka – an urban locale that’s slightly reminiscent of Scott’s Blade Runner. Douglas and his cop partner, played by Andy Garcia, capture a Yakuza gangster in New York, then come to Osaka and hand him over to people they believe to be police but are in fact Yakuza in disguise. So Douglas has to journey into the dark infernal heart of Yakuza gangland to recapture his man. The action sequences are a bit perfunctory.
17. GI Jane (1997)
Demi Moore plays the wannabe Navy Seal in this serviceable and underrated movie: she is navy veteran Jordan O’Neil, who always resented not being eligible for full combat during the first Iraq war of 1991. But now the rules have changed and she can become a Seal if she survives the terrifying training course, presided over by the super-scary Viggo Mortensen – and she doesn’t want any special treatment. It’s quite earnest and the sexual politics feel naive, but it has the authentic Scott virtues of forthright action and propulsive energy.
16. Someone to Watch Over Me (1987)
This was the cheesy action-romance concept that was done more successfully five years later by Kevin Costner and Whitney Houston in Mick Jackson’s The Bodyguard – but Someone to Watch Over Me isn’t too bad. Mimi Rogers plays a high-society beauty whose life is in danger because she has witnessed a murder, Tom Berenger (an underrated, plausible lead) is the working-class cop assigned to protect her, and of course they fall in love. Lorraine Bracco, later to become a legend in Goodfellas and The Sopranos, is Berenger’s angry and heartbroken wife.
15. Black Hawk Down (2001)
Scott’s true-life war movie set in 90s Somalia set out to create a modern American Dunkirk myth: the US is pursuing its peacekeeping operation in Mogadishu and special forces attempt to kidnap a warlord terrorising the blameless civilian population. But the mission turns into a fiasco when one of the Black Hawk choppers goes down, and now the only real object for the Americans is to get all their guys out alive. It is a situation treated with full-on, non-stop deafening pyrotechnics: an almost meaningless blizzard of action. Scott certainly puts his pedal to the metal.
14. The Counsellor (2013)
Michael Fassbender has accumulated a bit of form as a Scott leading man in the past couple of decades, and here he is in this hyperactive, flawed action thriller from screenwriter Cormac McCarthy. He plays a lawyer (addressed as “counselor” in the American style) who is tempted by the big score. Through his criminal-clientele contacts, he figures he can get in on a lucrative Colombian drug deal; there is a great scene in which he proposes marriage to his girlfriend Laura, played by Penélope Cruz; Brad Pitt and Javier Bardem are in the mix. It runs out of steam but there’s a lot of energy in the first act.
13. Alien: Covenant (2017)
Scott’s Alien: Covenant is the stylish second prequel to the first, classic Alien film, coming after Prometheus. The Covenant is the name of the spaceship, which is hurtling through the galaxy on a mission to set up a plantation on a distant planet apparently able to support human life. Fassbender returns as the inscrutable robot and there is a great scene at the beginning, set in a room of Kubrickian whiteness, in which the robot is being questioned by its scientist-creator and asked to choose a name for himself. He picks “David” after the Michelangelo statue.
12. Robin Hood (2010)
All right, Russell Crowe’s Irish/geordie/Norfolk accent as Robin is a bit weird (he uncorked one of his legendary strops with a BBC radio interviewer who innocently asked where it was supposed to come from). But it’s an entertaining fantasy, powerfully and robustly directed by Scott, who showed his enduring talent for period warfare and battle scenes. Crowe’s Robin is no merry japester in the Errol Flynn style but a battle-hardened ex-soldier sickened by cruelty to Muslim civilians in the Crusades, and basically an anti-French loyalist of Richard the Lionheart. His entry into the world of stealing from the unjust rich is something he slides into for the most blameless of reasons.
11. Prometheus (2012)
Scott’s ambitious and lovely-looking film takes place before his sci-fi classic Alien, and it is part prequel and part variation on a theme. Noomi Rapace is the scientist who discovers ancient cave paintings in Skye that depict primitive humans worshipping a specific constellation. Astronomers find this pattern of stars, and soon Rapace is on a spaceship heading there, with crew-members including Charlize Theron and Idris Elba as humanoids, and Fassbender as the eerily and unnervingly inscrutable servant robot, David, who glides about the place like an automaton-butler, but scarily may have a mind of his own. Prometheus repeats many ideas from Alien, perhaps without the original’s mule-kick charge, but with intelligence and style.
10. Hannibal (2001)
Probably no sequel could in any way live up to Jonathan Demme’s classic The Silence of the Lambs, but Scott brought all his energy and unflinching appetite for chaos and gore to this followup. The talented Dr Lecter – still played by Anthony Hopkins – is now on the run and living incognito in Florence (perhaps in tribute to the infamous serial-killing “Monster of Florence”). He makes contact once again with Clariiiiiiice, now played by Julianne Moore, and their reunion is to involve an awful reckoning for a certain corrupt cop, played by Ray Liotta with something on his mind.
9. Matchstick Men (2003)
Scott left his generic comfort zone for this genial and seductive little black comedy about con artists. Nicolas Cage plays the veteran grifter who feels sad about what he does – parting stupid people from what little money they have. He is divorced, lonely and, furthermore, suffers from OCD, a condition that only threatens to worsen as he gets older. He has a tricky relationship with a young wannabe conman, played by Sam Rockwell, whom he is supposedly mentoring in the slimy art of confidence-tricking. But then he is reunited with his long-lost and now teenage daughter (Alison Lohman) who, to his fatherly pride, wants to be a grifter herself and is very good at it – like Tatum O’Neal in Paper Moon – and this causes no end of quasi-family dysfunction and resentment with Rockwell, his supposed heir.
8. The Last Duel (2021)
In this film, Scott created a big-screen, big-league costume period action drama of the sort no one else is able or willing now to make, and despite its flaws, it is directed at a full-tilt gallop with overwhelming, muscular force, a way with spectacle and storytelling gusto. Basically, it’s a Rashomon-style competing-testimony narrative based on a true story from 14th-century France. Matt Damon, sporting an outrageous mullet, plays Jean de Carrouges, who demands of the king the right to duel to the death with a certain Jacques Le Gris, played by Adam Driver, whom he accuses of raping his wife, Marguerite, played by Jodie Comer. The film tells us the story from Carrouges’ viewpoint, then Le Gris’ and finally Marguerite’s. Perhaps Marguerite’s view gets crowded out but this is a vivid and well-made picture.
7. The Martian (2015)
Science fiction was something that Scott came to be known for, but The Martian could not be more different than the dark and disturbing Alien franchise: essentially optimistic in outlook, and, made with Nasa’s enthusiastic approval and co-operation, it actually won a Golden Globe for “musical or comedy”. Matt Damon plays all-American scientist/astronaut Mark Watney, who is part of a team conducting research on Mars. When the station is devastated by a dust storm, the commander believes Watney to be dead and flies off with the rest of the crew. But he is still alive and this Robinson Crusoe on Mars makes a resourceful and courageous attempt to survive and get word to planet Earth that he wants to come home.
6. Gladiator (2000)
“Are you not ENTERTAINED?” Moviegoers around the world agreed that they were, and with this film, Scott single-handedly revived the sword-and-sandal genre that had lain dormant in Hollywood for generations. He also made an A-list star of beefy, macho Russell Crowe, who plays Maximus Decimus Meridius: father to a murdered son, husband to a murdered wife who will have his vengeance in this life or the next. He is the general who is betrayed and sold into slavery by the envious new emperor, Commodus, played by the soon-to-be-a-megastar Joaquin Phoenix, and who then plots his revenge in his new prominence as the greatest gladiator in the land. A mighty epic with some of the great period production design Scott is known for, making the very most of emerging digital effects for the spectacular Colosseum scenes.
5. All the Money in the World (2017)
In his 80s, Scott directed one of his very best films, and maybe it’s no coincidence that it’s about an old guy who has more energy and cunning than anyone else on screen. This is a raucous thriller based on the true story of super-rich oil tycoon J Paul Getty and his refusal in 1973 to pay the ransom when his grandson was kidnapped in Rome. Getty was originally played by Kevin Spacey but Scott, disgusted with revelations about Spacey’s abusive behaviour, reshot all his scenes with Christopher Plummer in the role, who in turn gave one of his best performances as the cantankerous and high-handed Getty, glittering with mischief, malice and scorn. He is the autocrat-villain, who perhaps already haughtily, considers that his former daughter-in-law (Michelle Williams) in gaining custody of his grandkids after a divorce has already made him the object of a legal kidnapping.
4. Thelma & Louise (1991)
This classic road movie thriller, scripted by Callie Khouri and starring Susan Sarandon and Geena Davis, was probably the closest Scott came in spirit to a kind of freewheeling New Wave lawlessness. Louise (Sarandon) is the tough and savvy waitress who is best friends with the good-natured and innocent housewife Thelma (Davis), whose husband neglects her. When they head off for a fishing weekend, they make a stop at a roadhouse, where a predatory creep attempts to rape Thelma in the parking lot – he has to back down when Louise threatens him with a gun, but then she shoots him dead in a rage when this man shouts abuse. From there on in, Thelma and Louise are wanted criminals, whose crime importantly is not down to self-defence as a court might understand it, but just pure rage at the patriarchy and generations of misogynistic ill-treatment. The final scene and final image, showing the two women’s existential defiance, has become iconic.
3. The Duellists (1977)
Scott made his dazzling feature debut with this complex and ambitious historical parable, derived from a Conrad short story, set in Europe during the tumult of the Napoleonic wars and partly inspired by the look of Kubrick’s period drama Barry Lyndon. It is about a young Frenchman called Armand d’Hubert, played by Keith Carradine, and how the course of his entire life is to be dominated by a mercurial, unstable and duelling-obsessed fellow officer, Gabriel Feraud (Harvey Keitel) who through a quirk of fate comes to believe that he has been insulted by D’Hubert, and demands satisfaction on the field of honour. The resulting duel is inconclusive (as many of course were) and Feraud becomes even more obsessed with the idea that he must submit again and again to a duel – with swords, sabres, pistols, anything – until one or the other of them is killed. Feraud is mad, but then the convention of duelling is mad, and so is the convention of glamorous, noble warfare, and D’Hubert has no choice but to agree as the two men get older and rise through the ranks, until their existential duel is finally settled. Scott was always good at period drama and confrontational machismo but he was perhaps never again to make anything with such nuance and subtlety.
2. Blade Runner (1982)
Scott’s 1982 futurist classic was adapted from Philip K Dick’s quibblingly named 1968 novel Do Androids Dream of Electric Sheep? With its new sleek, mysterious title, this movie introduced the world to the author’s vision and popularised new ideas in science-fiction cinema about identity, virtual reality and artificial intelligence. His vision of Los Angeles of the future (in fact, 2019) was to be one of Scott’s most potent and influential inventions as a film-maker: the megamodern cityscape, dominated by Asian corporations, with eerie, giant electronic ad signs, and often seen through sheets of driving rain. Harrison Ford plays Deckard, an ex-cop tasked by city authorities into resuming his work as a “blade runner”, a specialist killer whose job is to track down replicants (new-human android-servants) who have become disobedient. And he is to fall in love with one: Rachael, played with haunting, deadpan torpor by Sean Young – overwhelmed by the poignancy of the false memories that have been implanted in her mind. Perhaps it is the replicants that have souls, and not the downtrodden human beings, and Rutger Hauer’s replicant, Roy, has an amazing final speech (partly improvised by the actor himself) as he declaims about the vastness of his experience: “I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain …” The speech has a haunting poetry.
1. Alien (1979)
It is more than 40 years old, and yet Scott’s sci-fi horror masterpiece is still lethally contemporary. It is about the vulnerability of our bodies, the fear of the Other, the fear of disease and viral invasion, and the idea of space exploration as a limitless new extension of human paranoia. The setting is a mining spaceship of the future, which reluctantly makes a detour on its homeward journey on picking up an SOS signal from a remote, officially deserted planet. John Hurt plays Kane, the technician who fatefully volunteers for the job of going down on to the planet’s surface to see what’s happening, Ian Holm is the cool scientific officer, Ash, and Sigourney Weaver is crew-member Ripley, who is to achieve legendary “final girl” status as the only person left to combat the terrible monster. When Kane returns to the ship, he brings a nasty little stowaway with him, and the film is so brilliantly structured and edited that it is impossible to say what it looks like until the very end.
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https://variety.com/2000/film/news/mgm-universal-going-dutch-on-hannibal-tab-1117779689/
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MGM, Universal going dutch on ‘Hannibal’ tab
|
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2000-03-21T07:00:00+00:00
|
Universal Pictures and MGM will co-finance "Hannibal," with U supervising production and distributing internationally. MGM will control the marketing and distribution of the film in United States and Canada.
|
en
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Variety
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https://variety.com/2000/film/news/mgm-universal-going-dutch-on-hannibal-tab-1117779689/
|
Universal Pictures and MGM will co-finance “Hannibal,” with U supervising production and distributing internationally. MGM will control the marketing and distribution of the film in United States and Canada.
Project, which moved onto firm footing last month with the signing of Julianne Moore to play Clarice Starling (Daily Variety, Feb. 11), will begin production in May in Florence, Italy.
The partnership between the studios had been anticipated since both have been employing risk-minimization strategies on recent high-profile projects. A release date has not yet been set.
As expected, Anthony Hopkins has agreed to reprise his Oscar-winning role as Hannibal Lecter in the thriller, set seven years after the original “The Silence of the Lambs,” with a Lecter victim seeking revenge. Ridley Scott will direct from a script by Steven Zaillian and will serve as producer along with Dino and Martha De Laurentiis.
U develops pic
Universal has developed the project since Dino De Laurentiis obtained the rights to the Thomas Harris novel for an estimated $9 million. De Laurentiis obtained first negotiation rights to author-written sequels as part of the contract he held on “Manhunter,” the adaptation of Harris’ 1981 novel “Red Dragon.” Hannibal Lecter first appeared in that novel and played a supporting role in the Michael Mann-directed movie.
Universal’s handling of the co-financing arrangement with MGM and its agreement with the filmmakers was led by Universal Pictures president Rick Finkelstein. MGM’s business affairs department handled its end of the negotiations.
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https://thehannibal8.wordpress.com/category/universal-international/
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Universal (International)
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Posts about Universal (International) written by Toby
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en
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https://s1.wp.com/i/favicon.ico
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The Hannibal 8
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https://thehannibal8.wordpress.com/category/universal-international/
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Directed by David Lynch
Starring Kyle MacLachlan, Jürgen Prochnow, Sean Young, Virginia Madsen, Kenneth McMillan, Sting, Patrick Stewart, Dean Stockwell, Max von Sydow, Francesca Annis, Brad Dourif, José Ferrer, Linda Hunt, Freddie Jones, Richard Jordan, Everett McGill, Jack Nance, Paul Smith
I had this set up to post automatically a few days ago, but I did something wrong, so I apologize for the short notice.
A David Lynch movie might seem like a bit of a stretch for this blog — too recent (even though its 40 years old), too expensive, too almost mainstream. But when you think about who shot it, well, it fits in pretty well. I went to see Lynch’s previous picture, The Elephant Man (1980), for two reasons: (1) Freddie Francis shot it in (2) black-and-white Panavision. I hadn’t even heard of Lynch or Eraserhead at that point, but I sure as hell knew who Freddie Francis was!
Lynch brought Francis back for Dune (1984), so of course I was going to go — especially when there were 70mm engagements less than an hour away. Freddie Francis in 70! The film was a mess, of course — beware of any movie that provides you with a glossary as you walk in! But I was blown away by Francis’ cinematography, the production design (from the wooden sets to the almost antique-looking spaceships), Albert Whitlock’s matte work and the presence of Freddie Jones (of Frankenstein Must Be Destroyed).
Well, it’s back in theaters February 18 and 19 to mark its 40th anniversary. And while it won’t be in 70mm, I’m looking forward to seeing it on the big screen again — and to seeing how baffled my daughter will be by the whole thing!
Francis’ last film as DP, Lynch’s The Straight Story (1999) is wonderful, and I’ve heard it’s finally getting a much-needed Blu-Ray release. Easily one of my favorite films of the last 30 years. I’m in the middle of a post on another Freddie Francis picture (directing this time), which will be on its way before long. Stay tuned.
Directed by Abner Biberman
Starring Rory Calhoun, Julie Adams, Ray Danton, Thomas Gomez, Frank Faylen
Character actor Abner Biberman directs Rory Calhoun, Julie Adams and Ray Danton in The Looters (1955), a cool adventure-noir kinda thing that, as far as I can tell, has never been on home video in any format. Kino Lorber’s Blu-Ray will remedy that in April.
Rory Calhoun in a mountain guide living alone in Colorado, mainly to get away from people. Just as his old Army buddy (Danton) comes to visit, a plane crashes a few peaks over, and the pair go looking for them. They would’ve been better off letting them fend for themselves, because a quarter of a million bucks in cash turns up in the wreckage — bringing out the worst in just about everybody.
Calhoun is always cool, Julie Adams has a good part here, and Ray Danton is as slick and slimy as ever. And a couple of terrific character actors, Thomas Gomez and Frank Faylen, get nice roles to mess around with.
Restored from 35mm finegrain material, this should look great. I’ve provided a commentary, and it was a lot of fun to research a movie that’s been pretty much out of circulation for decades. Recommended.
Directed by Fritz Lang
Starring Joan Bennett, Michael Redgrave, Anne Revere, Barbara O’Neil, Natalie Schafer
I’ve said it many times: I love Fritz Lang’s Hollywood movies. Secret Beyond The Door (1947) is the kind of creepy, noir-ish weirdness we can always count on Lang for. Kino Lorber is bringing it to Blu-Ray later in the year.
Joan Bennett marries Michael Redgrave in Mexico, and when she arrives at his mansion, she finds he has six rooms dedicated to six famous murder scenes, with a seventh he won’t let anyone see. And from there, it gets weird.
This was one of four pictures Joan Bennett did with Fritz Lang. Man Hunt (1941) is terrific. Beautifully shot by Stanley Cortez, this should be a gorgeous disc, probably an improvement over the one released by Olive Films years ago. Highly recommended.
Two Imprint posts in a row. This time, they’re pulling together a Blu-Ray set (limited to just 1,500 copies) of four cool pictures starring George Peppard.
P.J. (1968, AKA New Face In Hell)
Directed by John Guillermin
Starring George Peppard, Gayle Hunnicutt, Raymond Burr, Wilfrid Hyde-White, Brock Peters, Susan Saint James
Peppard’s a PI in this “neo-noir” (whatever that is), no doubt inspired by the success of Harper (1966). There was a string of mid-60s detective movies like this, and I’m a big fan of ’em. Peppard gets set up in a murder plot by a big businessman (Raymond Burr) and his mistress (Gayle Hunnicutt).
From the outstanding cast (character parts makes movies like this) to Loyal Griggs’ Technicolor and Techniscope cinematography to the 60s modern sets to Neil Hefti’s terrific score, cool ness just drips off this film. John Guillermin also directed Peppard in The Blue Max (1966) and House Of Cards (1968).
I’m super-stoked to be doing a commentary for it.
Pendulum (1969)
Directed by George Schaefer
Starring George Peppard, Jean Seberg, Richard Kiley, Charles McGraw
George Peppard’s a Washington, DC, police captain in this one, accused of murdering his wife and her lover.
The Executioner (1970)
Directed by Sam Wanamaker
Starring George Peppard, Joan Collins, Judy Geeson, Oskar Homolka, Charles Gray
After he’s almost killed while on assignment, an MI5 agent (Peppard) sets out to prove one of his contacts is a double agent.
Newman’s Law (1974)
Directed by Richard Heffron
Starring George Peppard, Roger Robinson, Eugene Roche, Abe Vigoda
Newman (Peppard) is an honest LA copy accused being on the take. He sets out to prove his innocence and uncovers a nasty conspiracy. This came out shortly after Peppard’s Banacek series wrapped up.
George Peppard’s movie-star looks kept him from being the actor he wanted to be, and he’s mostly known today for The A-Team, but he was a very good actor when he had a good part. This set, absolutely packed with extras, is gonna be a good one. Recommended.
Directed by Jeannot Szwarc
Starring Roy Scheider, Lorraine Gary, Murray Hamilton
Here’s something that’ll make you feel old: when a movie you saw first-run as a teenager comes out on 4K disc in a special 45th anniversary edition. Yikes!
I was so excited to see Jaws 2 (1978), there was no way it couldn’t have been a disappointment (though the POV shots with the cameraman obviously sitting on the back of the fake shark were very, very cool). But Jaws 3-D (1983) and Jaws: The Revenge (1987) came along and made it seem like a masterpiece.
To mark the 45th anniversary of Jaws 2 hitting the multiplex near you (and the anniversary of the bubble gum cards turning up in your local 7-11), Universal is bringing it to 4K disc. I’m sure it’ll look terrific.
Directed by Erle C. Kenton
Starring Lois Collier, Fred Brady, Paul Kelly, Noah Beery Jr., Douglass Dumbrille, Rose Hobart
Vinegar Syndrome Labs has announced their Blu-Ray release of The Cat Creeps (1946), a goofy horror/crime/mystery thing from Universal, “newly scanned and restored in 2K from its 35mm dupe negative.”
Erle C. Kenton directed Island Of Lost Souls (1932) and some stuff from Universal’s “monster rally” period — Ghost Of Frankenstein (1942), House Of Frankenstein (1944) and House Of Dracula (1945). A veteran of Mack Sennett comedies, he also did Who Done It? (1942), one of the best Abbott & Costello movies, and You’re Telling Me! (1934) with WC Fields.
Writing to Famous Monsters as a kid, director Joe Dante called the picture a “shamefully un-mysterious mystery with supernatural overtones. Just another grade B murder-in-the-mansion potboiler.” He’s right, of course, but there’s a charm to these movies that I absolutely adore, and the more I see ’em, the more I love ’em.
I’m so glad the folks at Vinegar Syndrome Labs are giving pictures like this the white glove treatment, complete with commentaries, documentaries and other extras. Hopefully, there will be many more. Highly recommended for fans of the whole Universal horror thing.
Our friends at Eureka in the UK are serving up some more 1930s and ’40s hi-def horror from Universal. There will be commentaries and other extras. Reaching for the pre-order button yet?
Murders In The Zoo (1933)
Directed by A. Edward Sutherland
Starring Charlie Ruggles, Lionel Atwill, Gail Patrick, Randolph Scott
This Pre-Code gem is considered pretty ghastly, a reputation it gleefully deserves. Lionel Atwill is insanely jealous, and if you mess with his wife, there’s a good chance you’ll be eaten by tigers, bitten by a deadly snack or God knows what else. Bonus: Randolph Scott is in it!
Horror Island (1941)
Directed by George Waggner
Starring Dick Foran, Peggy Moran, Leo Carrillo, Eddie Parker, Dale Van Sickle, John Eldredge, Fuzzy Knight
Dick Foran owns a tiny island off the Florida coast, complete with a castle and the legend of buried treasure. He sets up a fake tourist-y treasure-hunt cruise to his island, but when strange things happen and people end up dead…
This was originally paired with Man Made Monster (1941), for a perfect night at the movies.
Night Monster (1942)
Directed by Ford Beebe
Starring Bela Lugosi, Lionel Atwill, Ralph Morgan, Irene Hervey, Don Porter, Leif Erikson
Though they’re given top billing, Bela Lugosi and Lionel Atwill really have featured roles in this more-or-less remake of Doctor X (1932). Shot by the underrated Charles Van Enger.
House Of Horrors (1946)
Directed by Jean Yarbrough
Starring Rondo Hatton, Martin Kosleck, Robert Lowery, Virginia Grey
After playing “The Creeper” in the Sherlock Holmes picture The Pearl Of Death (1944), Universal decided to make the disfigured (due to acromegaly) Rondo Hatton their next horror star. He made two movies in 1945, House Of Horrors and The Brute Man. They would be released after his death in 1946. If you can get past how exploitive the whole thing is, the movies are as ghoulish and entertaining as other Universal horror pictures of the 40s.
Universal has always kept these films in tip-top condition, making Blu-Rays of these things a must. Each is a creepy delight — responsible for the rotted brains of lots and lots of monster kids (myself included). Highly, highly recommended.
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Movie Reviews for Families
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[
"Review"
] |
2012-08-12T01:52:13+00:00
|
Is HANNIBAL family friendly? Find out only at Movieguide. The Family and Christian Guide to Movie Reviews and Entertainment News.
|
en
|
Movieguide | The Family Guide to Movies & Entertainment
|
https://www.movieguide.org/reviews/movies/hannibal.html
|
HANNIBAL may be a more despicable movie than its predecessor, SILENCE OF THE LAMBS. Not content with merely focusing on the lurid details of serial killers, violence and cannibalism, it also includes scurrilous attacks on Christianity, Jesus Christ, the Apostle Paul, and the FBI, as well as politically-correct elements favoring homosexuality and radical feminism.
Anthony Hopkins stars once again as Dr. Hannibal “the Cannibal” Lecter, the wily serial killer from SILENCE OF THE LAMBS. In that first movie, the imprisoned Dr. Lecter helps FBI Agent Clarice Starling (Jodie Foster) catch another serial killer. At the end, Lecter violently escapes his prison cell.
In HANNIBAL, Julianne Moore of MAGNOLIA now plays Agent Starling. Starling is put back on Dr. Lecter’s case 10 years later after a drug bust she leads goes wrong. Meanwhile, Dr. Lecter is now at large in Italy, enjoying his liberty in an unguarded world. He has to watch his step, however, because there’s a $3 million reward for his capture. Financing this sum is Mason Verger, a rich man with clout in Washington, D.C. and Dr. Lecter’s sixth victim, the only one who’s survived.
Horribly disfigured, Verger (an unrecognizable Gary Oldman) has special plans for Dr. Lecter when he catches up with him. Those plans involve tying Dr. Lecter up so he can be eaten slowly by wild pigs bred solely for that purpose. Verger realizes that, in order to draw Lecter out into the open, he must dangle an irresistible bait, Agent Starling. Verger draws Justice Department official Paul Krendler (Ray Liotta) into his vengeful scheme with promises of money and power. All this plotting leads to a violent, gruesome ending.
There’s plenty of violent material in HANNIBAL to satisfy the jaded audience of today’s movies. In addition to the aforementioned wild pigs feasting on human flesh, viewers of HANNIBAL will also have the “pleasure” of watching a man get disemboweled and seeing the top of a man’s skull pealed off so Dr. Lecter can cook part of the man’s brain.
All these things are bad enough, of course, but not enough to satisfy the writers and filmmakers of this trash.
First of all, they turn the FBI into a despicable organization totally at the mercy of political corruption. In two scenes, Dr. Lecter mentally torments Agent Starling about the agency’s lack of honor.
Secondly, the Paul Krendler character not only is corrupt, he also thinks Dr. Lecter has homosexual tendencies. Agent Starling scoffs at Krendler’s politically incorrect views. She asks Krendler if he hates her because he refused his sexual advances years before by telling him to go home to his wife. Krendler then makes a nasty sexual remark about Starling. Thus, the homosexual hater also turns out to be a woman hater and adulterer.
Finally, there is an anti-Christian bias in this movie that does nothing to further the story or enhance the characters.
For example, Verger tells Starling at one point that being victimized by Hannibal Lecter has been his salvation because he, Verger, now believes in Jesus Christ. By seeking violent, un-Christian revenge against his nemesis, however, Verger has become as despicable as Hannibal. It’s no wonder, therefore, that Agent Starling becomes uncomfortable at Verger’s self-righteous, hypocritical proclamation of faith in Jesus Christ.
At another point in the movie, Hannibal informs Agent Starling and Paul Krendler that the Apostle Paul, like Krendler, also hated women. This is another false, vicious slander against Jesus Christ, who personally chose Paul as an Apostle, and against Paul himself. It’s a further example of the hateful, satanic, anti-Christian bigotry that has seeped into the Hollywood community. Paul, by the way, says in Gal. 3:28 that all people in Christ are equal children of God and names both men and women!
HANNIBAL also is not a very well-made movie. The worst of the violence in the movie is lurid, sickening, pointless, and completely gratuitous rather than enlightening, cathartic, exciting, or even titillating. In addition, story elements regarding Dr. Lecter’s final days in Italy are left dangling, much like the corpse of Dr. Lecter’s final victim there. The movie also never reveals any truly insightful reasons behind Dr. Lecter’s apparent need to gruesomely torture people while killing them. It is said that he hates rude, greedy and dishonorable people, but these reasons are merely excuses for his murderous behavior. Finally, Starling’s character is mostly undeveloped here, which gives Julianne Moore little to do beyond looking scared, upset and put upon, not to mention a couple opportunities to strike stereotypical Feminist Cop poses. Perhaps a better actress (Jodie Foster, maybe?) could have done better, but we’ll give Ms. Moore the benefit of the doubt.
On a side note, it is also despicable that HANNIBAL did not rate an NC-17 from Jack Valenti’s Motion Picture Association for its gruesome climax. This makes the MPAA complicit in HANNIBAL’s cannibalization of all sense of decency. It’s become increasing clear in the last few years that the rating system for movies, which was devised mostly by self-interested businessmen, has become totally meaningless as well as ineffective.
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| 67
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https://deadline.com/2023/11/dina-de-laurentiis-actress-producer-head-gear-film-bridge-horror-xelter-afm-1235590103/
|
en
|
New-Look De Laurentiis Company Teams With 10th Man Pictures, Head Gear & Film Bridge For Period Horror ‘Xelter’ — AFM
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"Andreas Wiseman"
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2023-11-02T00:28:45+00:00
|
Hannibal and the original Dune outfit The De Laurentiis Company are behind the horror movie.
|
en
|
Deadline
|
https://deadline.com/2023/11/dina-de-laurentiis-actress-producer-head-gear-film-bridge-horror-xelter-afm-1235590103/
|
EXCLUSIVE: Film Bridge International is launching sales at AFM on horror Xelter, whose producers include The De Laurentiis Company (Hannibal) and Head Gear Films (Talk To Me).
The period horror film directed by Martin Bonnici is currently in production in Malta, with a cast of Maltese newcomers alongside actors including Brit Bobby Schofield (The Covenant) and Irish actor Moe Dunford (Vikings).
The WWII-set movie charts the legend of the Babaw, a supernatural creature known for stalking and killing children. The film, inspired by true historical events, sees citizens of Malta take shelter from Nazi bombardment in the ancient catacombs underneath the cities, where they suffered deadly peril from collapsing tunnels and entrapment. That experience scarred a generation, and led to stories about creatures that stole children who strayed too far away from their parents.
Screenplay was written by Scottish screenwriter and comics writer Emma Beeby, based on a story Beeby wrote with Gordon Rennie. Above is a first-look image from the movie.
The project was developed and is being produced by 10th Man Pictures, the Maltese company formed by American producer Noah C. Haeussner (Arctic) and Joe Azzopardi and Martin Bonnici of Malta. Joining the production team are the The De Laurentiis Company (Hannibal), Ka-Boom Films, Head Gear Films (Talk To Me), and Film Bridge International.
The De Laurentiis Company is a brand steeped in film lore, having been founded by La Strada and Nights Of Cabiria producer mogul Dino De Laurentiis, and his wife Martha. After moving to Hollywood, the company made cult genre movies including Conan The Barbarian and the original Dune, and then studio movies such as Hannibal and Red Dragon.
Following the passing of producer Martha De Laurentiis in 2021, the company is now run by Martha and Dino’s daughter Dina with producer Ed Wacek serving as President Of Production. Xelter marks actress Dina’s first movie as producer for the iconic company. The label is still first-look with Universal and still works out of the backlot bungalow where the company has been since 1999.
Martha’s last movie was Universal’s Firestarter, a remake of De Laurentiis and the same studio’s 1984 original. The family also notably includes film and TV figures Raffaela De Laurentiis, Aurelio De Laurentiis and Giada De Laurentiis.
Producers on Xelter are Noah C. Haeussner, Joe Azzopardi, and Dina De Laurentiis. The film is executive-produced by Ed Wacek of the De Laurentiis Company, Phil Hunt and Compton Ross of Head Gear Films, Zach Willis of Ka Boom Films, and Ellen Wander and Jordan Dykstra of Film Bridge International. Patrick Selzer is co-producing.
Said Dina De Laurentiis: “Having first seen Malta as a little girl when my parents shot the World War II thriller U-571 here, this film connected strongly with me. Xelter captures the horror of war from a child’s perspective, as well as the horrors that are birthed in a child’s imagination.”
Commented Haeussner: “I had scouted Malta for other projects, so when Martin first pitched me this, I knew it deserved to be a truly global film. This island is a fantastic place to film and the catacombs we’ve been shooting in are spectacular, and at times more than a little unsettling. It’s been a real honor helping the Maltese tell their stories.”
Jordan Dykstra of Film Bridge International added: “We’re excited to be introducing a wholly original genre piece with a unique vision. Xelter is exactly the type of genre film that audiences crave.”
|
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| 93
|
https://www.prnewswire.com/news-releases/illumination-entertainment-and-universal-pictures-unveil-groundbreaking-global-promotional-partnerships-for-the-secret-life-of-pets-300296327.html
|
en
|
Illumination Entertainment and Universal Pictures Unveil Groundbreaking Global Promotional Partnerships for The Secret Life of Pets
|
https://photos.prnewswire.com/prnthumb/20160710/388139LOGO
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https://photos.prnewswire.com/prnthumb/20160710/388139LOGO
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"Universal Pictures"
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2016-07-11T12:00:00-04:00
|
/PRNewswire/ -- As part of a massive, multi-faceted cross-promotional campaign in support of The Secret Life of Pets, the highest-grossing original opening...
|
en
|
/content/dam/prnewswire/icons/2019-Q4-PRN-Icon-32-32.png
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https://www.prnewswire.com/news-releases/illumination-entertainment-and-universal-pictures-unveil-groundbreaking-global-promotional-partnerships-for-the-secret-life-of-pets-300296327.html
|
UNIVERSAL CITY, Calif., July 11, 2016 /PRNewswire/ -- As part of a massive, multi-faceted cross-promotional campaign in support of The Secret Life of Pets, the highest-grossing original opening ever for a motion picture, Illumination Entertainment and Universal Pictures' today announced partnerships with some of the world's most recognized brands, which share in the success of this record-breaking result. The cross-category program includes a global activation with McDonald's and promotions with top household names including the Chrysler brand, General Mills, P&G, Mott's, PetSmart and The J.M. Smucker Company as well as breakthrough partnerships with innovative brands like GoPro and Realtor.com, marking the first time Realtor.com has collaborated with a major studio and the first time GoPro has collaborated on a campaign for an animated feature film. Delivering close to $400 million in promotional value, the creative-driven programs will be supported by multi-media marketing campaigns powered by television, digital and print advertising, significant retail exposure, social and influencer campaigns and live events.
Many of the brand campaigns are highlighted by TV advertising and content featuring custom animation, new narratives and storylines created in collaboration with Illumination Entertainment's Creative Marketing team and Universal Pictures, starring the film's lovable animal characters, extending their experiences beyond the big screen. The Illumination Entertainment creative team of more than 100 artists has created 21 original content spots for the film's global promotional partners. Innovative content such as GoPro's original two-minute short, featuring a mix of real world athletes and animated characters, highlights this creative collaboration.
"Our filmmaking partners at Illumination have continued to raise the bar in creativity with cutting edge animation, relatable storylines and iconic characters with The Secret Life of Pets," said David O'Connor, Executive Vice President, Worldwide Promotions and Brand Marketing, Universal Pictures. "Securing these world class partners and developing strategic, innovative activations that engage consumers in a modern, creative way is a true testament to the appeal and relevance of our new film."
"By starting with the central premise of what pets do when we are not around, we're able to leverage that theme into real world scenarios, products, and brands that amplify our creative narrative in an authentic and distinct way," said Gail Harrison, president of marketing and branding for Illumination Entertainment.
The Secret Life of Pets has almost 100 partners worldwide, select partnership highlights include:
McDonald's
The Secret Life of Pets will take over McDonald's restaurants worldwide with two custom animated television spots and an awesome Happy Meal campaign, including The Secret Life of Pets plush premiums and fun in-restaurant décor globally.
Chrysler
NBC's Seth Meyers and his dog Frisbee are featured in the multi-platform campaign for the All-New 2017 Chrysler Pacifica. Additional celebrities, including Nick Cannon, take the wheel with their dogs in a series of humorous spots featuring scenes from The Secret Life of Pets.
General Mills
General Mills will execute a promotional campaign around the film by featuring characters on boxes of select Big G cereals. TV and digital advertising as well as in-pack premiums will be featured for this campaign.
Mott's
The Secret Life of Pets-themed Mott's Applesauce and Juice packages, featuring Max, Duke and the rest of the film's furry friends, will be released on store shelves this summer. Mott's will also support the film with a free child's ticket offer through Fandango.com.
PetSmart
As the exclusive pet-specialty retailer for The Secret Life of Pets, PetSmart is executing a "store-takeover" campaign featuring the film's lovable characters in more than 1,400 stores throughout North America as well as on petsmart.com and other digital platforms. The Secret Life of Pets campaign includes advertising that features custom-to-PetSmart animation and assets across television, print and digital, as well as social engagement programs.
GoPro
Some of GoPro's most engaging content is when the camera is in the right paws, claws, or even wings. Marking its first-ever animated film partnership, GoPro will debut an immersive two-minute custom animated short co-created with Illumination Entertainment and featuring The Secret Life of Pets imitating the most extreme real-life adventures. The content will be distributed on GoPro's social media channels and established community of influencers. GoPro cameras will also be provided to local television on-air talent to produce stories starring their pets.
Realtor.com
Realtor.com, which is partnering for the first time with a studio and feature film, debuted a television advertising campaign featuring real four-legged family members imitating the adorable characters from The Secret Life of Pets. The campaign included a user-generated content competition inspired by The Secret Life of Pets trailer asking consumers to recreate scenes from the trailer using their own pets. The UGC version of the trailer can be viewed now.
Bazooka Candy Brands
Bazooka Candy Brands International, a division of The Topps Company, Inc., is partnering with The Secret Life of Pets internationally with their iconic brands Push Pop®, Juicy Drop Pop®, MegaMouth®, Big Baby Pop®, and Ring Pop®. The partnership brings the Pets characters to life through millions of fun, film-themed packaging and POS displays available at retailers, including Mass, Grocery, Drug, and Convenience stores, across Europe, the Middle East, Korea, Japan, and Latin America. In addition, the program includes integrated marketing campaigns in local markets.
Petcube
Petcube answers the question about what pets do when their owners are away with this clever film partnership across Europe and Asia Pacific that highlights their innovative pet camera and app. The promotion is supported by TV, radio, paid retail advertising, print, digital, co-branded packaging, in-store exposure, and a significant social media footprint.
Healthy Paws Pet Insurance
Healthy Paws Pet Insurance, LLC, an Aon company, the #1 customer-rated provider of health insurance for dogs and cats in the U.S., will run a media campaign featuring a series of engaging quizzes and fun facts that highlight pet parenting style and the human-like qualities of our pets.
Sky
Sky, Europe's leading entertainment company has teamed up with The Secret Life of Pets to create custom animated TV adverts for their latest campaign promoting Sky Broadband and the Sky Switch Squad. The adverts convey the misfortunes that can arise from unreliable broadband, just as the pets are relying on the internet for their everyday entertainment. The campaign will also feature on cinema, radio, digital platforms, press and on out-of-home media across Britain.
Comcast
Wonder what your pets do all day? Well Comcast may just have the answer with their integrated marketing campaign for their Xfinity Home product. The campaign features a custom animated TV spot that demonstrates the home security and automation capabilities of their product as well as giving us a glimpse into the secret lives of our pets.
In addition to their Xfinity Home campaign, Comcast has also developed an additional custom animated TV spot highlighting their X1 Voice Remote capabilities.
Additionally, The Secret Life of Pets' robust, multi-faceted licensing and merchandising campaign includes global master toy licensee, Spin Master and exclusive pet product retail partner, PetSmart, along with a roster of best-in-class licensees reaching across multiple categories from interactive and video games, to children's books, apparel and accessories, consumer electronics, housewares and stationery.
About The Secret Life of Pets
For their fifth fully-animated feature-film collaboration, Illumination Entertainment and Universal Pictures present The Secret Life of Pets, a comedy about the lives our pets lead after we leave for work or school each day.
Comedy superstars Louis C.K., Eric Stonestreet, and Kevin Hart make their animated feature-film debuts in The Secret Life of Pets, which co-stars Jenny Slate, Ellie Kemper, Lake Bell, Dana Carvey, Hannibal Buress, Bobby Moynihan, Steve Coogan, and Albert Brooks. Illumination founder and CEO Chris Meledandri and his longtime collaborator Janet Healy produce the film directed by Chris Renaud (Despicable Me, Despicable Me 2), co-directed by Yarrow Cheney, and written by Cinco Paul & Ken Daurio and Brian Lynch. www.thesecretlifeofpets.com
About Illumination Entertainment
Illumination Entertainment, founded by Chris Meledandri in 2007, is one of the entertainment industry's leading producers of event animated films. Illumination, which has an exclusive financing and distribution partnership with Universal Pictures, is the creator of the hugely successful Despicable Me franchise, which includes Minions, the second-highest-grossing animated film of all time, as well as Despicable Me 2, an Academy Award® nominee for Best Animated Feature of 2013. In all, Illumination's films, which also include 2011's Hop and 2012's Dr. Seuss' The Lorax, have grossed more than $3.2 billion in worldwide box-office revenues and feature some of the world's most renowned talent.
Upcoming films include Sing, starring Matthew McConaughey, Reese Witherspoon, Seth MacFarlane, Scarlett Johansson, John C. Reilly, Taron Egerton and Tori Kelly, which arrives in theaters in December 2016; Despicable Me 3, starring Steve Carell and Trey Parker, which is set for June 2017; and a newly-imagined version of Dr. Seuss' How The Grinch Stole Christmas, starring Benedict Cumberbatch in the title role of The Grinch, that is set for November 2017. In addition, Minion Rush (800 million downloads) has become one of the world's most popular apps, and Minion Mayhem attracts huge crowds at Universal Orlando Resort and Universal Studios Hollywood.
About Universal Pictures
Universal Pictures is a division of Universal Studios (www.universalstudios.com). Universal Studios is part of NBCUniversal. NBCUniversal is one of the world's leading media and entertainment companies in the development, production and marketing of entertainment, news and information to a global audience. NBCUniversal owns and operates a valuable portfolio of news and entertainment networks, a premier motion picture company, significant television production operations, a leading television stations group and world-renowned theme parks. NBCUniversal is a subsidiary of Comcast Corporation.
Logo - http://photos.prnewswire.com/prnh/20160710/388139LOGO
SOURCE Universal Pictures
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https://en.wikipedia.org/wiki/Hannibal_Lecter_(franchise)
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en
|
Hannibal Lecter (franchise)
|
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[
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2013-04-09T14:49:50+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Hannibal_Lecter_(franchise)
|
Media franchise based on titular serial killer
Hannibal LecterCreated byThomas HarrisOriginal workRed DragonOwnerAmazon MGM Studios
(through Orion Pictures unit)Years1981–presentPrint publicationsNovel(s)
Red Dragon (1981)
The Silence of the Lambs (1988)
Hannibal (1999)
Hannibal Rising (2006)
Films and televisionFilm(s)
Manhunter (1986)
The Silence of the Lambs (1991)
Hannibal (2001)
Red Dragon (2002)
Hannibal Rising (2007)
Television series
Hannibal (2013–2015)
Clarice (2021)
The Hannibal Lecter franchise is an American media franchise based around the titular character, Hannibal Lecter, a brilliant, cannibalistic serial killer whose assistance is routinely sought out by law enforcement personnel to aid in the capture of other criminals. He originally appeared in a series of novels (starting with Red Dragon in 1981) by Thomas Harris. The series has since expanded into film and television, having four timeline-connected franchise films produced by Dino De Laurentiis Company: The Silence of the Lambs (1991), Hannibal (2001), Red Dragon (2002) and Hannibal Rising (2007), with three starring Anthony Hopkins.
Novels
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Red Dragon (1981)
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Main article: Red Dragon (novel)
The Silence of the Lambs (1988)
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Hannibal (1999)
[edit]
Main article: Hannibal (Harris novel)
Hannibal Rising (2006)
[edit]
Main article: Hannibal Rising
Films
[edit]
Film U.S. release date Director(s) Screenwriter(s) Producer(s) Manhunter August 15, 1986 ( ) Michael Mann Richard A. Roth The Silence of the Lambs February 14, 1991 ( ) Jonathan Demme Ted Tally Ron Bozman, Kenneth Utt & Edward Saxon Hannibal February 9, 2001 ( ) Ridley Scott David Mamet & Steven Zaillian Ridley Scott, Dino De Laurentiis & Martha De Laurentiis Red Dragon October 4, 2002 ( ) Brett Ratner Ted Tally Dino De Laurentiis & Martha De Laurentiis Hannibal Rising February 9, 2007 ( ) Peter Webber Thomas Harris Tarak Ben Ammar, Dino De Laurentiis & Martha De Laurentiis
Manhunter (1986)
[edit]
Main article: Manhunter (film)
The first adaptation was the 1986 film Manhunter, which was an adaptation of Red Dragon, directed by Michael Mann. Brian Cox stars as Hannibal Lecter (in the film, the surname is changed to Lecktor).
The Silence of the Lambs (1991)
[edit]
The next adaptation was 1991's The Silence of the Lambs, which was directed by Jonathan Demme and was the first film to feature Anthony Hopkins in the role of Hannibal Lecter. Silence was a success, both critically and financially, and went on to become the third film in Academy Awards history to win in all top five categories (Best Actor for Hopkins, Best Actress for Jodie Foster, Best Director for Demme, Best Adapted Screenplay for Ted Tally, and Best Picture).
Hannibal (2001)
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Main article: Hannibal (2001 film)
Hopkins reprised the role in 2001's Hannibal, a sequel directed by Ridley Scott.
Red Dragon (2002)
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Main article: Red Dragon (2002 film)
Hopkins once again reprised the role in Red Dragon, a prequel directed by Brett Ratner. In 2002, Hopkins revealed that he had written a screenplay for another sequel, ending with Clarice Starling killing Lecter, but it was not produced.[1]
Hannibal Rising (2007)
[edit]
Main article: Hannibal Rising (film)
In 2007, Hannibal Rising was released. The film is a prequel, directed by Peter Webber and starring Gaspard Ulliel as Lecter.
Television
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Series Seasons Episodes First released Last released Showrunner(s) Network(s) Hannibal 3 39 April 4, 2013 ( ) August 29, 2015 (2015-08-29) Bryan Fuller NBC Clarice 1 13 February 11, 2021 ( ) June 24, 2021 ( ) Jenny Lumet & Alex Kurtzman CBS
Hannibal (2013–2015)
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Main article: Hannibal (TV series)
In 2013, the TV series Hannibal premiered. Developed by Bryan Fuller, it is not a direct adaptation, but based on characters and elements from the novels. Some male characters have become female, such as Freddy Lounds, who is renamed Fredricka "Freddie" Lounds. The series has garnered much critical acclaim since its premiere, winning the 2014 and 2015 Saturn Awards for Best Network Television Series, as well as the inaugural Best Action-Thriller Television Series award in 2016.
Clarice (2021)
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Main article: Clarice (TV series)
In May 2012, Lifetime announced to develop a television series centered on Starling after her graduation from the FBI academy, which was to be produced by MGM;[2] the project was never picked up and was shelved. CBS later developed the series of the same name, with Alex Kurtzman and Jenny Lumet as producers, as a sequel to The Silence of the Lambs set in 1993,[3] starring Rebecca Breeds as Starling.[4] The show premiered in 2021.
Cast and characters
[edit]
Character Films Television series Manhunter The Silence of the Lambs Hannibal Red Dragon Hannibal Rising Hannibal Clarice 1986 1991 2001 2002 2007 2013–2015 2021 Hannibal Lecter Brian Cox
(as Hannibal Lecktor) Anthony Hopkins Gaspard UllielAaran Thomas Mads Mikkelsen Clarice Starling Jodie FosterMasha Skorobogatov Julianne Moore Rebecca BreedsMaya McNair Will Graham William Petersen Edward Norton Hugh Dancy Jack Crawford Dennis Farina Scott Glenn Harvey Keitel Laurence Fishburne Frederick Chilton Benjamin Hendrickson Anthony Heald Anthony Heald Raúl Esparza Francis Dolarhyde
(The Tooth Fairy) Tom Noonan
(as Francis Dollarhyde) Ralph FiennesAlex D. Linz Richard Armitage Buffalo Bill
(Jame Gumb) Ted Levine Simon Northwood Barney Matthews Frankie Faison Jonathan Tucker
(as Matthew Brown) Freddy Lounds Stephen Lang Philip Seymour Hoffman Lara Jean Chorostecki
(as Fredricka "Freddie" Lounds) Mason Verger Gary Oldman Michael Pitt
Joe Anderson Paul Krendler Ron Vawter Ray Liotta Cynthia Nixon
(as Kade Prurnell)[5] Michael Cudlitz Reba McClane Joan Allen Emily Watson Rutina Wesley Molly Graham Kim Greist Mary-Louise Parker Nina Arianda Rinaldo Pazzi Giancarlo Giannini Fortunato Cerlino Cordell Doemling Željko Ivanek Glenn Fleshler Margot Verger Katharine Isabelle Vladis Grutas Rhys Ifans Lady Murasaki Gong Li Alan Bloom Paul Perri
(as Sidney Bloom) Caroline Dhavernas
(as Alana Bloom) Beverly Katz Michele Shay Elizabeth Dennehy
(as Beverly) Hettienne Park Jimmy Price Dan Butler Stanley Anderson Scott Thompson Brian Zeller Chris Elliott
(as Zeller) Aaron Abrams Lloyd Bowman Bill Smitrovich Ken Leung Chiyoh Tao Okamoto Bedelia Du Maurier Gillian Anderson Abel Gideon Eddie Izzard Ardelia Mapp Kasi Lemmons Devyn A. Tyler Catherine Martin Brooke Smith Marnee Carpenter Ruth Martin Diane Baker Jayne Atkinson
Reception
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Box office performance
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The Hannibal Lecter films, when compared to other top-grossing American horror franchises—Alien vs. Predator, Candyman, Child's Play, The Conjuring, The Exorcist, Evil Dead, Final Destination, Friday the 13th, Halloween, Hellraiser, I Know What You Did Last Summer, Jaws, A Nightmare on Elm Street, The Omen, Paranormal Activity, Psycho, The Purge, Saw, Scream, and The Texas Chainsaw Massacre—is one of the highest grossing horror film franchises.
Critical reception
[edit]
Title Rotten Tomatoes Metacritic Manhunter 94% (49 reviews)[6] 75 (22 reviews)[7] The Silence of the Lambs 95% (153 reviews)[8] 86 (20 reviews)[9] Hannibal 39% (172 reviews)[10] 57 (36 reviews)[11] Red Dragon 69% (191 reviews)[12] 60 (36 reviews)[13] Hannibal Rising 16% (148 reviews)[14] 35 (30 reviews)[15] Hannibal - Season 1 (2013) 82% (68 reviews)[16] 70 (32 reviews)[17] Hannibal - Season 2 (2014) 98% (45 reviews)[18] 88 (14 reviews)[19] Hannibal - Season 3 (2015) 98% (47 reviews)[20] 84 (15 reviews)[21] Clarice 42% (48 reviews)[22] 56 (33 reviews)[23]
Musical
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In 2005, comedian-musicians Jon and Al Kaplan, most famous for their musical re-imaginings of popular films as YouTube musicals, parodied The Silence of the Lambs, especially the film version, in Silence! The Musical. It premiered Off-Off-Broadway and has since had acclaimed productions in London (2009) and Los Angeles (2012). In 2012, it won the Los Angeles Drama Critics Circle – Score, Lead Performance, Choreography Award.[24]
In 2016, rock band Conan Neutron & the Secret Friends released their second record, The Art of Murder,[25] a concept album which was "directly inspired by the Hannibal Lecter series of books by Thomas Harris".[26]
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https://davidbmorris.medium.com/i-have-often-thought-that-for-whatever-value-the-later-hannibal-lecter-films-have-they-all-in-7b8072794b15
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en
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I have often thought that for whatever value the later Hannibal Lecter films have, they all in…
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https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
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2024-08-02T02:44:57.888000+00:00
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I have often thought that for whatever value the later Hannibal Lecter films have, they all in comparison to fact that he works better in small doses. Hopkins is only on screen little more than 20…
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https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
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Medium
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https://davidbmorris.medium.com/i-have-often-thought-that-for-whatever-value-the-later-hannibal-lecter-films-have-they-all-in-7b8072794b15
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I have often thought that for whatever value the later Hannibal Lecter films have, they all in comparison to fact that he works better in small doses. Hopkins is only on screen little more than 20 minutes in the movies 2 hour plus run time but because his Lecter is in such small doses he has all his power. The later versions put him front and center in the movie and in Hannibal out in the real world - and that's always struck me as something that has affected Hopkins's performance in each film. When he was in a cage, he was terrifying. In the real wrold, he's just another serial killer and we've had two many of those - it's definitely true for Hannibal and its also true for Red Dragon, which has the added problem of a much older Hopkins having to play a younger Lecter. (It's also why I think Michael Mann's Manhunter works better than the sequels, certainly Hannibal.)
I should add Demme was one of the greatest film makers of our time. In comedy he never truly stepped wrong and I recently wrote a piece as to why I thought his reimagining of The Manchurian Candidate is in many ways a minor masterpiece. Few directors have been more talented, versatile and underappreciated. Like Norman Jewison, he was a director whose ffilms were more famous then he was.
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Hannibal Pictures
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Background
Hannibal Pictures is a film company based in Los Angeles that specializes in the co-production of international English language movies.
1st Logo (October 6, 2009-December 9, 2010)
Visuals: Against a sky background, there is an old, cracked, and dirty tan disk flipping upwards. Once flat and facing the screen, two hands from opposite sides within the oval begin rotating before stopping to give the gesture that two people are grabbing each other. During this sequence, a gold filmstrip is seen moving in front of the disk, containing "HANNIBAL PICTURES" in black.
Trivia: The two hands in this logo happens to be a detail from The Creation of Adam.
Technique: CGI.
Audio: None.
Availability: Seen on Give 'em Hell Malone and Casino Jack.
2nd Logo (January 4, 2011-Late 2010's)
Visuals: On a sand-color background, there is a box in the center with a lighter shade of the background color. Inside it, there is the cropped Creation of Adam painting above "HANNIBAL" and "PICTURES" in black and white respectively.
Variants: On Rumble, the background is black, and the box is smaller as well as having a thin outline.
Technique: A still digital graphic.
Audio: None.
Availability: It debuted on Gun and can be seen on The Big Bang and Rumble.
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https://www.usatoday.com/story/entertainment/tv/2021/02/24/hannibal-lecter-movie-and-tv-show-ranked-clarice-silence-lambs/4546809001/
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The best Hannibal Lecter movies and TV shows, ranked (including 'Silence of the Lambs' and 'Clarice')
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CBS drama \
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USA TODAY
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https://www.usatoday.com/story/entertainment/tv/2021/02/24/hannibal-lecter-movie-and-tv-show-ranked-clarice-silence-lambs/4546809001/
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Hello, "Clarice."
CBS this month premiered its moody procedural spin on FBI agent Clarice Starling, starring Rebecca Breeds in the role made famous by Jodie Foster in 1991's Oscar-winning "The Silence of the Lambs." The series (Thursdays, 10 EST/PST) is the latest in a slew of film and TV adaptations of Thomas Harris' novels about infamous cannibal Hannibal Lecter. The cultured yet calculating ex-psychiatrist first appeared in Harris' 1981 book "Red Dragon," and was memorably played by Anthony Hopkins in three movies (including "Lambs," released 30 years ago this month).
Here's how "Clarice" ranks with the best (and worst) Lecter fare:
5 best Jonathan Demme films to watch: 'Silence of the Lambs,' 'Philadelphia,' more
Anthony Hopkins: Oscar winner celebrates 45 years of sobriety after nearly 'drinking myself to death'
7. 'Hannibal Rising' (2007)
Why can't we just let baddies be bad? As part of an eye-rolling trend of villain origin stories, Harris rush-released a novel and film about young Lecter (Aaran Thomas), tracing his dire upbringing in 1940s Lithuania, where his parents were murdered and his sister was cannibalized. Now grown, Lecter (Gaspard Ulliel) develops his own taste for flesh in a gruesome revenge-killing spree. It's a hackneyed tale that robs the character of his chilling mystique, reducing him to a cheap horror movie slasher.
6. 'Clarice' (2021)
A show that is somehow more lifeless than Dr. Lecter's victims. Set a year after the events of "Silence of the Lambs," the CBS drama follows Starling (Breeds) as she's called back into the field to investigate serial killings. The series aims for nuanced exploration of Starling's childhood trauma and PTSD from the Buffalo Bill case but is hindered by flat dialogue and heavy-handed storytelling. Most lethal of all, "Clarice" is unable to name or depict Lecter for legal reasons, leaving an obvious void that the show is forced to awkwardly tiptoe around.
Our critic: CBS's 'Clarice' is a far cry from the brilliance of 'The Silence of the Lambs'
5. 'Hannibal' (2001)
Strangely convoluted and unpleasantly gory, this high-budget sequel is set 10 years after "Lambs," as a now-disgraced Starling (Julianne Moore, replacing Foster) races to capture Lecter (Hopkins) before Mason Verger (Gary Oldman), his mutilated surviving victim, gets vengeance. Set in the U.S. and Italy, Ridley Scott's film often feels like a grislier version of Dan Brown's "Angels & Demons," with a truly stomach-churning image of Ray Liotta's exposed brain that will haunt us for a lifetime. But it's a delight watching Hopkins turn up the camp as a bloodthirsty Lecter, who's let loose in the wild. And Moore, God bless her, tries her best to emulate Foster's distinct West Virginia accent as Starling.
4. 'Red Dragon' (2002)
Despite being a prequel to "Lambs," this is actually the last of Hopkins' Lecter movies, as his cannibalistic psychiatrist helps retired FBI agent Will Graham (Edward Norton) catch Francis Dolarhyde (Ralph Fiennes), also known as the Tooth Fairy killer. With a superb cast including Mary-Louise Parker and Philip Seymour Hoffman, this stylish but familiar thriller is a step up from "Hannibal." But Norton's Graham lacks the tortured cool of the dashing William Petersen, who originated the character in 1986's "Manhunter" (more on that below). His interrogation scenes also lack the spark of Foster's Starling, who managed to go toe to toe with Hopkins' Lecter even with glass separating them.
3. 'Manhunter' (1986)
With flickers of "Miami Vice," Michael Mann's neon-washed adaptation of "Red Dragon" was a critical and commercial disappointment upon release, but has since been reappraised as one of the better Lecter movies. Set to a pulsing synth soundtrack, the movie tracks Graham's (Petersen) hunt for Francis Dolarhyde (Tom Noonan), himself an avid fan of Lecter (Brian Cox). Due to his towering physique and withdrawn demeanor, Noonan is in some ways scarier than Fiennes' more postured and feral take on Dolarhyde. And in a brief role, the legendary Cox ("Succession") brings sinister charm to the first onscreen Lecter.
2. 'Hannibal' (2013-15)
One of the most visually stunning TV shows of the past decade, Bryan Fuller's macabre NBC entry in the Lecter-verse was a surreal and squeamish feast for the eyes (and we're not just talking about all that exquisite food porn). And we couldn't get enough of the delicious cat-and-mouse game between criminal profiler Graham (Hugh Dancy) and Lecter (Mads Mikkelsen); their homoerotic thrills have only been matched by "Killing Eve" in the years since.
1. 'The Silence of the Lambs' (1991)
As if there was any other choice. Thirty years later, Jonathan Demme's unlikely best picture Oscar winner is still an eerily spellbinding masterpiece: meticulously edited and strikingly shot, with an exhilarating final 40 minutes that's unrivaled in its intensity. Foster's Starling remains an all-time great protagonist, who approaches depraved killers and leering superiors with the same level of cool-headed resolve and intuition. Hopkins, as her intellectual sparring partner Lecter, looms over the film with a creeping menace, gradually exposing Starling's vulnerabilities and forcing her to confront her father's death.
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Release date Title Notes January 8, 2010 Leap Year USA/Netherlands/Singapore distribution only, co-production with Spyglass Entertainment and Benderspink February 12, 2010 The Wolfman co-production with Relativity Media and Stuber Pictures March 12, 2010 Green Zone co-production with Working Title Films March 19, 2010 Repo Men co-production with Stuber Pictures and Relativity Media March 26, 2010 Kick-Ass international distribution only; co-production with Marv Films and Plan B Entertainment May 12, 2010 Robin Hood co-production with Imagine Entertainment, Relativity Media, and Scott Free Productions May 21, 2010 MacGruber distribution only; produced by Rogue Pictures, Relativity Media and Michaels-Goldwyn June 4, 2010 Get Him to the Greek co-production with Apatow Productions, Spyglass Entertainment, and Relativity Media July 9, 2010 Despicable Me co-production with Illumination Entertainment July 30, 2010 Charlie St. Cloud co-production with Relativity Media, Marc Platt Productions and Charlie Film Productions August 13, 2010 Scott Pilgrim vs. the World co-production with Big Talk Productions August 20, 2010 Nanny McPhee Returns released as Nanny McPhee and the Big Bang in the UK, co-production with StudioCanal, Relativity Media, Working Title Films and Three Strange Angels September 17, 2010 Devil distribution only; produced by The Night Chronicles and Media Rights Capital November 12, 2010 Skyline US distribution only; co-production with Rogue, Relativity Media, Hydraulic Entertainment, Transmission and Rat Entertainment December 22, 2010 Little Fockers U.S. distribution; co-production with Paramount Pictures, DW Studios, Relativity Media, TriBeCa Productions and Everyman Pictures January 14, 2011 The Dilemma co-production with Imagine Entertainment, Spyglass Entertainment and Wild West Picture Show Productions February 4, 2011 Sanctum US/UK/Australia/New Zealand distribution only, co-production with Wayfare Entertainment, Relativity Media and FilmNation Entertainment March 4, 2011 The Adjustment Bureau co-production with Media Rights Capital, Gambit Pictures and Electric Shepherd Productions March 18, 2011 Paul co-produced with Working Title Films, Relativity Media, and Big Talk Productions April 1, 2011 Hop co-production with Illumination Entertainment and Relativity Media April 8, 2011 Your Highness co-production with Stuber Productions April 29, 2011 Fast Five co-production with Original Film and One Race Films May 13, 2011 Bridesmaids co-production with Apatow Productions and Relativity Media July 1, 2011 Larry Crowne U.S. distribution only; co-production with Vendôme Pictures and Playtone July 29, 2011 Cowboys & Aliens U.S. distribution; co-production with DreamWorks, Paramount Pictures (international), Relativity Media, Reliance Entertainment, Imagine Entertainment, K/O Paper Products, Platinum Studios and Fairview Entertainment August 5, 2011 The Change-Up co-production with Original Film, Relativity Media and Big Kid Pictures September 2, 2011 A Dangerous Method Germany and Austria distribution only, co-production with Téléfilm Canada, Recorded Picture Company, Corus Entertainment, and Astral Media September 30, 2011 Dream House U.S. distribution only; co-production with Morgan Creek Productions October 14, 2011 The Thing co-production with Morgan Creek Productions and Strike Entertainment October 21, 2011 Johnny English Reborn co-production with Working Title Films, StudioCanal, and Relativity Media November 4, 2011 Tower Heist co-production with Imagine Entertainment and Relativity Media January 13, 2012 Contraband co-production with Working Title Films, Relativity Media, Blueeyes Productions, Closest to the Hole and Leverage Productions February 3, 2012 Big Miracle co-production with Working Title Films and Anonymous Content February 10, 2012 Safe House co-production with Relativity Media and Bluegrass Films February 24, 2012 Wanderlust co-production with Relativity Media, Apatow Productions, and A Hot Dog Productions March 2, 2012 Dr. Seuss' The Lorax co-production with Illumination Entertainment April 6, 2012 American Reunion co-production with Relativity Media and Zide/Perry Productions April 27, 2012 The Five-Year Engagement co-production with Relativity Media and Apatow Productions May 18, 2012 Battleship co-production with Hasbro, Film 44, and Bluegrass Films June 1, 2012 Snow White & the Huntsman co-production with Roth Films June 29, 2012 Ted co-production with Media Rights Capital, Fuzzy Door Productions, Bluegrass Films, and Smart Entertainment July 6, 2012 Savages co-production with Relativity Media and Ixtlan Productions August 10, 2012 The Bourne Legacy co-production with Relativity Media, The Kennedy/Marshall Company and Captivate Entertainment August 17, 2012 ParaNorman international distribution only, co-production with Focus Features and Laika October 5, 2012 Pitch Perfect co-production with Gold Circle Films November 2, 2012 The Man with the Iron Fists co-production with Strike Entertainment and Arcade Pictures November 16, 2012 Anna Karenina co-production with Focus Features and Working Title Films December 19, 2012 Zero Dark Thirty European distribution only;[2] produced by Columbia Pictures, First Light Productions and Annapurna Pictures December 21, 2012 This Is 40 co-production with Apatow Productions December 25, 2012 Les Misérables co-production with Working Title Films, Relativity Media, and Cameron Mackintosh Ltd. January 18, 2013 Mama co-production with Toma 78 and De Milo Productions February 8, 2013 Identity Thief co-production with Relativity Media, Scott Stuber Productions, Aggregate Films and Bluegrass Films April 5, 2013 Jurassic Park (3-D rerelease) co-production with Amblin Entertainment April 19, 2013 Oblivion co-production with Relativity Media, Chernin Entertainment, Monolith Pictures and Radical Studios May 24, 2013 Fast & Furious 6 co-production with Original Film, Relativity Media and One Race Films June 7, 2013 The Purge co-production with Platinum Dunes and Blumhouse Productions July 3, 2013 Despicable Me 2 co-production with Illumination Entertainment July 19, 2013 R.I.P.D. co-production with Relativity Media, Original Film, Dark Horse Entertainment and 101st Street Productions August 2, 2013 2 Guns U.S. distribution only; co-production with Emmett/Furla Films, Marc Platt Productions, Oasis Ventures Entertainment Ltd., Empyre Media Capital, Herrick Entertainment, Envision Entertainment, and Boom! Studios August 16, 2013 Kick-Ass 2 co-production with Marv Films and Plan B Entertainment August 23, 2013 The World's End co-production with Focus Features, Relativity Media, Studiocanal, Big Talk Productions and Working Title Films, also distribution outside the US, and Focus Features released in the USA. September 6, 2013 Riddick distribution worldwide except Canada and UK, co-production with Radar Pictures and One Race Films September 27, 2013 Rush U.S. distribution only; co-production with Exclusive Media Group, Working Title Films, Imagine Entertainment, Revolution Films, and Cross Creek Pictures Witching & Bitching Spanish film; Co-production with Enrique Productions and La Ferme! Productions November 1, 2013 About Time co-production with Relativity Media and Working Title Films November 1, 2013 Man of Tai Chi international distribution only; co-production with China Film Group, Wanda Media and Village Roadshow Pictures Asia November 15, 2013 The Best Man Holiday co-production with Blackmaled Productions and Sean Daniel Company December 25, 2013 47 Ronin co-production with Relativity Media, H2F Entertainment, Mid Atlantic Films, Moving Picture Company, and Stuber Productions December 25, 2013 Lone Survivor USA/UK distribution only; co-production with Emmett/Furla Films, Film 44, Foresight Unlimited, Herrick Entertainment, Spikings Entertainment, Envision Entertainment, Closest to the Hole Productions, Weed Road Pictures and Leverage Management January 17, 2014 Ride Along co-production with Cube Vision, Relativity Media, and Rainforest Films; last film to teamed up with Relativity Media February 14, 2014 Endless Love co-production with Bluegrass Films and Fake Empire Productions February 28, 2014 Non-Stop U.S. distribution only; co-production with Silver Pictures, StudioCanal, and Anton Capital Entertainment May 9, 2014 Neighbors co-production with Good Universe and Point Grey Pictures May 30, 2014 A Million Ways to Die in the West co-production with Media Rights Capital, Fuzzy Door Productions, and Bluegrass Films July 18, 2014 The Purge: Anarchy co-production with Blumhouse Productions, Platinum Dunes and Why Not Productions July 25, 2014 Lucy distribution worldwide except France, China, and the Benelux countries; co-production of EuropaCorp, TF1 Films Production, Canal+, Ciné+ and TF1 August 1, 2014 Get on Up co-production with Imagine Entertainment, Jagged Films, and Wyolah Films August 29, 2014 As Above, So Below distribution only; produced by Legendary Pictures and Brothers Dowdle September 19, 2014 A Walk Among the Tombstones distribution only; produced by Cross Creek Pictures, Endgame Entertainment, 1984 Private Defense Contractors, Exclusive Media, Jersey Films and Double Feature Films September 26, 2014 The Boxtrolls international distribution only; co-production with Focus Features and Laika October 17, 2014 Dracula Untold co-production with Legendary Pictures and Michael De Luca Productions October 24, 2014 Ouija distribution only; produced by Platinum Dunes, Hasbro Studios, and Blumhouse Productions November 14, 2014 Dumb and Dumber To US/Canada/UK/Spain/Germany/Australia distribution only;[3] co-production with New Line Cinema, Red Granite Pictures and Conundrum Entertainment December 25, 2014 Unbroken co-production with Legendary Pictures, Jolie Pas, and 3 Arts Entertainment January 16, 2015 Blackhat co-production with Legendary Pictures and Forward Pass January 23, 2015 The Boy Next Door co-production with Blumhouse Productions, Smart Entertainment and Nuyorican Productions February 6, 2015 Seventh Son co-production with Legendary Pictures, Thunder Road Films and China Film Group February 13, 2015 Fifty Shades of Grey co-production with Focus Features, Michael De Luca Productions, and Trigger Street Productions April 3, 2015 Furious 7 co-production with Original Film, One Race Films, Media Rights Capital, and China Film April 17, 2015 Unfriended co-production with Bazelevs Company and Blumhouse Productions May 15, 2015 Pitch Perfect 2 co-production with Gold Circle Films June 12, 2015 Jurassic World co-production with Legendary Pictures and Amblin Entertainment June 26, 2015 Ted 2 co-production with Media Rights Capital, Fuzzy Door Productions, Bluegrass Films, and Smart Entertainment July 10, 2015 Minions co-production with Illumination Entertainment July 17, 2015 Trainwreck co-production with Apatow Productions August 14, 2015 Straight Outta Compton co-production with Legendary Pictures, New Line Cinema, Cube Vision, Crucial Films, and Broken Chair Flickz September 11, 2015 The Visit co-production with Blinding Edge Pictures and Blumhouse Productions September 18, 2015 Everest co-production with Walden Media, Cross Creek Pictures, and Working Title Films September 25, 2015 The Green Inferno U.S. distribution only; co-production with Blumhouse Tilt, High Top Releasing, Worldview Entertainment, Dragonfly Entertainment and Sobras International Pictures October 9, 2015 Steve Jobs co-production with Legendary Pictures, Scott Rudin Productions, Mark Gordon Company, Entertainment 360, Decibel Films and Cloud Eight Films October 16, 2015 Crimson Peak co-production with Legendary Pictures and DDY October 23, 2015 Jem and the Holograms co-production with Hasbro Studios, Allspark Pictures, Blumhouse Productions, and SB Projects November 13, 2015 By the Sea co-production with Jolie Pas and Plan B Entertainment November 20, 2015 Legend co-production with Anton Capital Entertainment, Working Title Films, Cross Creek Pictures and StudioCanal December 4, 2015 Krampus co-production with Legendary Pictures[4] December 18, 2015 Sisters co-production with Little Stranger and Everyman Pictures[4] January 15, 2016 Ride Along 2 co-production with Cube Vision, Will Packer Productions, and MBST Entertainment[4] February 5, 2016 Hail, Caesar! co-production with Mike Zoss Productions and Working Title Films March 25, 2016 My Big Fat Greek Wedding 2 distribution only; produced by Gold Circle Films, HBO Films, and Playtone[4] April 8, 2016 The Boss co-production with Gary Sanchez Productions and On the Day Productions[4] April 22, 2016 The Huntsman: Winter's War co-production with Roth Films and Perfect World Pictures[4] May 20, 2016 Neighbors 2: Sorority Rising co-production with Good Universe and Point Grey Pictures[4] June 3, 2016 Popstar: Never Stop Never Stopping distribution only; produced by Apatow Productions, The Lonely Island and Perfect World Pictures June 10, 2016 Warcraft co-production with Legendary Pictures, Blizzard Entertainment, Atlas Entertainment, and China Film Group Corporation[4] June 17, 2016 Central Intelligence international distribution only; co-production with Warner Bros. Pictures, New Line Cinema, RatPac Entertainment, Perfect World Pictures, Bluegrass Films and Principato-Young Entertainment July 1, 2016 The Purge: Election Year co-production with Blumhouse Productions and Platinum Dunes[5] July 8, 2016 The Secret Life of Pets co-production with Illumination Entertainment[5] July 29, 2016 Jason Bourne co-production with The Kennedy/Marshall Company, Captivate Entertainment and Pearl Street Films[5] September 16, 2016 Bridget Jones's Baby co-production with Working Title Films[5] October 7, 2016 The Girl on the Train distribution only; produced by Amblin Partners, DreamWorks and Marc Platt Productions[5] October 14, 2016 Kevin Hart: What Now? [5] October 14, 2016 Ordinary World distribution only; produced by Let It Play and Process Media[6] October 21, 2016 Ouija: Origin of Evil co-production with Allspark Pictures, Blumhouse Productions, Hasbro Studios, and Platinum Dunes[5] November 11, 2016 Almost Christmas co-production with Will Packer Productions[7] December 9, 2016 Frank & Lola co-distribution with Paladin;[8][9] produced by Parts and Labor, Killer Films, Lola Pictures, FullDawa Films and Great Point Media December 21, 2016 Sing co-production with Illumination Entertainment[7] January 20, 2017 Split distribution only; produced by Blumhouse Productions[7] January 27, 2017 A Dog's Purpose distribution only; produced by Amblin Partners, DreamWorks, Walden Media, and Pariah Entertainment Group[7] February 10, 2017 Fifty Shades Darker co-production with Focus Features, Trigger Street Productions and Michael De Luca Productions[7] February 17, 2017 The Great Wall distribution outside of China only; produced by Legendary Pictures and Atlas Entertainment[7] February 24, 2017 Get Out distribution only; produced by Darko Entertainment, Blumhouse Productions and QC Entertainment[7] April 14, 2017 The Fate of the Furious co-production with Original Film, Chris Morgan Productions, and One Race Films[10] June 9, 2017 The Mummy co-production with Perfect World Pictures, Sean Daniel Company and Secret Hideout[11] June 30, 2017 Despicable Me 3 co-production with Illumination[11] July 21, 2017 Girls Trip co-production with Will Packer Productions[11] September 29, 2017 American Made co-production with Imagine Entertainment, Cross Creek Pictures, Quadrant Pictures, Hercules Film Fund, and Kylin Pictures[11] October 13, 2017 Happy Death Day co-production with Blumhouse Productions October 20, 2017 The Snowman co-production with Working Title Films and Another Park Film[11] October 27, 2017 Thank You for Your Service distribution only; produced by DreamWorks and Amblin Partners[11] December 22, 2017 Pitch Perfect 3 co-production with Gold Circle Films and Brownstone[11] The Post international distribution only;[12] produced by Amblin Partners, 20th Century Fox, Amblin Entertainment, Pascal Pictures, and Star Thrower Entertainment[11] January 5, 2018 Insidious: The Last Key US distribution only; produced by Sony Pictures International Productions, Blumhouse Productions, and Entertainment One[11] February 9, 2018 Fifty Shades Freed co-production with Focus Features, Trigger Street Productions, and Michael De Luca Productions[11] March 23, 2018 Pacific Rim: Uprising co-production with Legendary Pictures and Upper Room Productions[11] April 6, 2018 Blockers co-production with Good Universe, DMG Entertainment, Hurwitz & Schlossberg Productions, and Point Grey Pictures[11] April 13, 2018 Truth or Dare co-production with Blumhouse Productions[13] May 11, 2018 Breaking In co-production with Will Packer Productions and Practical Pictures[11] June 22, 2018 Jurassic World: Fallen Kingdom co-production with Amblin Entertainment, The Kennedy/Marshall Company, and Legendary Pictures[11] July 4, 2018 The First Purge co-production with Blumhouse Productions and Platinum Dunes[14] July 13, 2018 Skyscraper distribution only, produced by Legendary Pictures, Flynn Picture Company and Seven Bucks Productions [15] July 20, 2018 Mamma Mia! Here We Go Again co-production with Legendary Pictures and Playtone September 21, 2018 The House with a Clock in Its Walls co-production with Amblin Entertainment and Mythology Entertainment[16] September 28, 2018 Night School distribution only; produced by HartBeat Productions and Will Packer Productions[17] October 12, 2018 First Man co-production with DreamWorks and Temple Hill Entertainment[18] October 19, 2018 Halloween co-production with Trancas International Films, Miramax and Blumhouse Productions and Rough House Pictures[11] October 26, 2018 Johnny English Strikes Again co-production with Working Title Films November 9, 2018 The Grinch co-production with Illumination[11] November 16, 2018 Green Book Winner of the Academy Award for Best Picture
US distribution only; co-production with DreamWorks Pictures and Participant Media[19] December 14, 2018 Mortal Engines co-production with Media Rights Capital[11] December 21, 2018 Welcome to Marwen co-production with DreamWorks Pictures and ImageMovers[11][19] January 18, 2019 Glass US distribution only; co-production with Buena Vista International, Blinding Edge Pictures and Blumhouse Productions[20] February 13, 2019 Happy Death Day 2U co-production with Blumhouse Productions[11] February 22, 2019 How to Train Your Dragon: The Hidden World distribution only; produced by DreamWorks Animation and Mad Hatter Entertainment.[11] March 22, 2019 Us co-production with Monkeypaw Productions, QC Entertainment, and Blumhouse Productions[11] April 12, 2019 Little co-production with Legendary Pictures and Will Packer Productions[11] May 10, 2019 The Hustle international distribution only; produced by Metro-Goldwyn-Mayer, Cave 76 Productions and Camp Sugar Productions May 17, 2019 A Dog's Journey distribution only; produced by Amblin Entertainment and Walden Media[21] May 31, 2019 Ma co-production with Blumhouse Productions and Wyolah Films[11] June 7, 2019 The Secret Life of Pets 2 co-production with Illumination Entertainment[11] June 28, 2019 Yesterday co-production with Working Title Films[22] August 2, 2019 Fast & Furious Presents: Hobbs & Shaw co-production with Original Film and Seven Bucks Productions[23] August 16, 2019 Good Boys co-production with Good Universe and Point Grey Pictures[24] September 27, 2019 Abominable distribution only; produced by DreamWorks Animation and Pearl Studio[25][11] October 11, 2019 The Addams Family international distribution only; produced by Metro-Goldwyn Mayer, BRON Creative, Cinesite, Nitrogen Studios and The Jackal Group[26] November 8, 2019 Last Christmas distribution only; produced by Feigco Entertainment November 27, 2019 Queen & Slim distribution only; produced by Makeready, Hillman Grad Productions, 3Blackdot, De La Revolución Films and Entertainment One[27] December 13, 2019 Black Christmas co-production with Blumhouse Productions[28] December 20, 2019 Cats co-production with Monumental Pictures, The Really Useful Group, Amblin Entertainment and Working Title Films[29]
|
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https://www.usatoday.com/story/entertainment/tv/2021/02/24/hannibal-lecter-movie-and-tv-show-ranked-clarice-silence-lambs/4546809001/
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en
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The best Hannibal Lecter movies and TV shows, ranked (including 'Silence of the Lambs' and 'Clarice')
|
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[
"Patrick Ryan, USA TODAY",
"Patrick Ryan"
] |
2021-02-24T00:00:00
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CBS drama \
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en
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USA TODAY
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https://www.usatoday.com/story/entertainment/tv/2021/02/24/hannibal-lecter-movie-and-tv-show-ranked-clarice-silence-lambs/4546809001/
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Hello, "Clarice."
CBS this month premiered its moody procedural spin on FBI agent Clarice Starling, starring Rebecca Breeds in the role made famous by Jodie Foster in 1991's Oscar-winning "The Silence of the Lambs." The series (Thursdays, 10 EST/PST) is the latest in a slew of film and TV adaptations of Thomas Harris' novels about infamous cannibal Hannibal Lecter. The cultured yet calculating ex-psychiatrist first appeared in Harris' 1981 book "Red Dragon," and was memorably played by Anthony Hopkins in three movies (including "Lambs," released 30 years ago this month).
Here's how "Clarice" ranks with the best (and worst) Lecter fare:
5 best Jonathan Demme films to watch: 'Silence of the Lambs,' 'Philadelphia,' more
Anthony Hopkins: Oscar winner celebrates 45 years of sobriety after nearly 'drinking myself to death'
7. 'Hannibal Rising' (2007)
Why can't we just let baddies be bad? As part of an eye-rolling trend of villain origin stories, Harris rush-released a novel and film about young Lecter (Aaran Thomas), tracing his dire upbringing in 1940s Lithuania, where his parents were murdered and his sister was cannibalized. Now grown, Lecter (Gaspard Ulliel) develops his own taste for flesh in a gruesome revenge-killing spree. It's a hackneyed tale that robs the character of his chilling mystique, reducing him to a cheap horror movie slasher.
6. 'Clarice' (2021)
A show that is somehow more lifeless than Dr. Lecter's victims. Set a year after the events of "Silence of the Lambs," the CBS drama follows Starling (Breeds) as she's called back into the field to investigate serial killings. The series aims for nuanced exploration of Starling's childhood trauma and PTSD from the Buffalo Bill case but is hindered by flat dialogue and heavy-handed storytelling. Most lethal of all, "Clarice" is unable to name or depict Lecter for legal reasons, leaving an obvious void that the show is forced to awkwardly tiptoe around.
Our critic: CBS's 'Clarice' is a far cry from the brilliance of 'The Silence of the Lambs'
5. 'Hannibal' (2001)
Strangely convoluted and unpleasantly gory, this high-budget sequel is set 10 years after "Lambs," as a now-disgraced Starling (Julianne Moore, replacing Foster) races to capture Lecter (Hopkins) before Mason Verger (Gary Oldman), his mutilated surviving victim, gets vengeance. Set in the U.S. and Italy, Ridley Scott's film often feels like a grislier version of Dan Brown's "Angels & Demons," with a truly stomach-churning image of Ray Liotta's exposed brain that will haunt us for a lifetime. But it's a delight watching Hopkins turn up the camp as a bloodthirsty Lecter, who's let loose in the wild. And Moore, God bless her, tries her best to emulate Foster's distinct West Virginia accent as Starling.
4. 'Red Dragon' (2002)
Despite being a prequel to "Lambs," this is actually the last of Hopkins' Lecter movies, as his cannibalistic psychiatrist helps retired FBI agent Will Graham (Edward Norton) catch Francis Dolarhyde (Ralph Fiennes), also known as the Tooth Fairy killer. With a superb cast including Mary-Louise Parker and Philip Seymour Hoffman, this stylish but familiar thriller is a step up from "Hannibal." But Norton's Graham lacks the tortured cool of the dashing William Petersen, who originated the character in 1986's "Manhunter" (more on that below). His interrogation scenes also lack the spark of Foster's Starling, who managed to go toe to toe with Hopkins' Lecter even with glass separating them.
3. 'Manhunter' (1986)
With flickers of "Miami Vice," Michael Mann's neon-washed adaptation of "Red Dragon" was a critical and commercial disappointment upon release, but has since been reappraised as one of the better Lecter movies. Set to a pulsing synth soundtrack, the movie tracks Graham's (Petersen) hunt for Francis Dolarhyde (Tom Noonan), himself an avid fan of Lecter (Brian Cox). Due to his towering physique and withdrawn demeanor, Noonan is in some ways scarier than Fiennes' more postured and feral take on Dolarhyde. And in a brief role, the legendary Cox ("Succession") brings sinister charm to the first onscreen Lecter.
2. 'Hannibal' (2013-15)
One of the most visually stunning TV shows of the past decade, Bryan Fuller's macabre NBC entry in the Lecter-verse was a surreal and squeamish feast for the eyes (and we're not just talking about all that exquisite food porn). And we couldn't get enough of the delicious cat-and-mouse game between criminal profiler Graham (Hugh Dancy) and Lecter (Mads Mikkelsen); their homoerotic thrills have only been matched by "Killing Eve" in the years since.
1. 'The Silence of the Lambs' (1991)
As if there was any other choice. Thirty years later, Jonathan Demme's unlikely best picture Oscar winner is still an eerily spellbinding masterpiece: meticulously edited and strikingly shot, with an exhilarating final 40 minutes that's unrivaled in its intensity. Foster's Starling remains an all-time great protagonist, who approaches depraved killers and leering superiors with the same level of cool-headed resolve and intuition. Hopkins, as her intellectual sparring partner Lecter, looms over the film with a creeping menace, gradually exposing Starling's vulnerabilities and forcing her to confront her father's death.
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https://www.ranker.com/list/hannibal-lecter-movies/calistylie
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en
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Hannibal Lecter Movies And TV Shows, Ranked
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[
""
] | null |
[
"Jules Burke"
] |
2023-04-24T00:00:00
|
The first of the Hannibal Lecter movies was Manhunter in 1986. Though the film included the “Hannibal the Cannibal” character, he was not played by the man ...
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en
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/img/icons/touch-icon-iphone.png
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Ranker
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https://www.ranker.com/list/hannibal-lecter-movies/calistylie
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The first of the Hannibal Lecter movies was Manhunter in 1986. Though the film included the “Hannibal the Cannibal” character, he was not played by the man who made this role famous, Anthony Hopkins. In 1991, director Jonathan Demme and Hopkins really brought Hannibal to life in beloved film, The Silence of the Lambs, which also famously featured Jodie Foster as Clarice Starling.
The Silence of the Lambs is the Hannibal film that has the most Oscars, but which do you think is the best? There is also the sequel, Hannibal, which also features Hopkins as the titular character, though this time Starling is played by Julianne Moore. In 2002, Red Dragon, the same book that inspired the film Manhunter, was revisited, this time with Hopkins as Hannibal, and Ed Norton as Agent Will Graham. Hannibal Rising is a bloody prequel, focused on the titular character in his youth.
If TV shows are more your jam, there’s Bryan Fuller’s Hannibal, which has developed a cult following. This iteration of the Thomas Harris story features memorable performances by Mads Mikkelsen as Hannibal Lecter and Hugh Dancy as Will Graham. CBS series Clarice ignores the sequels, and picks up after the events of The Silence of the Lambs.
Which adaptation is your favorite? Read about the films and TV shows below, and be sure to vote up the ones you like most.
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https://www.broadstreetreview.com/articles/this-is-my-design-the-horror-of-hannibal
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This is my design: The horror of 'Hannibal'
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2014-04-29T16:33:00-04:00
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The viewer of Hannibal enters a world where the most horrifying aspects of being a human being are explored. Our bodies are fragile, our minds vulnerable.…
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en
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https://www.broadstreetreview.com/favicon.ico
|
Broad Street Review
|
https://www.broadstreetreview.com/articles/this-is-my-design-the-horror-of-hannibal
|
This is why I didn’t watch NBC’s Hannibal at first. I’d read the Thomas Harris novels and seen the movies. Anthony Hopkins played Dr. Lecter with scenery-chewing flamboyance. I was over it. What could be new about this show? And did I want to watch a show about a cannibal week after week?
The short answer is: yes. If you like watching from between your fingers, mouth agape, unable to look away, I highly recommend this show. Hannibal’s genius lies in the ways it blurs the line between body horror and psychological terror by playing to a deep-rooted fear of disintegration.
Varieties of horror
Body horror is defined by graphic destruction or degradation of the body, such as by disease, parasitism, mutation, or disfigurement. We treasure our physical integrity. That seems to go without saying, though it’s unavoidable that we will suffer incursions throughout our lives. We have accidents. We get sick. In truly unfortunate instances, someone else hurts us, or we hurt ourselves. Even those with the most charmed lives must endure the slow process of growing old, with the long-term, low-grade, inevitable dissolution it brings. By watching overblown depictions of bodily defilement, we can achieve catharsis about our own decline. Everyone, even the toughest person you know, has some modification to the human form that freaks him out, which explains everything from The Walking Dead to Twilight to Alien.
Hand in hand with body horror comes psychological horror, which taps into universal fears, insecurities, and vulnerabilities. At its heart is self-doubt and the paranoia that the real monster actually lies within us. Who can gaslight you better than your inner demons?
Hannibal Lecter is that inner demon made manifest.
The Thomas Harris version of Hannibal Lecter, while extraordinary, could conceivably be a real person. The Bryan Fuller version of him is much more interesting. Fuller is the mind behind such bizarre but engaging shows as Pushing Daisies, Wonderfalls, and Dead Like Me. His world is hyperbolically stylized and surrealistic; he plays with the idea of death in creative ways. He’s outdone himself creating the lush nightmare-scape of Hannibal.
The show works best when you are willing to suspend your disbelief. Most episodes feature the FBI’s behavioral science unit pursuing serial killers so fantastical that even one of them would make national news for months, if not years: a killer who hollows out human heads to serve as beehives; one who uses living, comatose humans as mushroom incubators; a man grown into a living tree, with live plants growing in his empty chest cavity. Each of these tableaux is rendered with such lyrical beauty that the viewer can’t bear to cringe away in horror. If you’re too squeamish to be fascinated, this ain’t the show for you.
An unforgiving deity
Then there’s Lecter himself. Fuller’s Hannibal isn’t a human being but a dark god. To the world, he’s an urbane surgeon turned psychiatrist (and noted gourmand). But he’s also the Chesapeake Ripper, an elaborately vicious serial killer. His human facade is so impenetrable that no one suspects him; on the contrary, he is a trusted friend, therapist, and FBI consultant.
Will Graham (portrayed with quiet intensity by Hugh Dancy) suffers from an empathy disorder, which helps him suss out the motivations of serial killers. By the end of the first season, Will Graham’s preternatural insight penetrates Lecter’s mask, and he discovers that Lecter is the Ripper. When Graham thinks of Lecter’s murderous alter ego, he pictures an antlered creature furred with black features, a pagan demon who impales his victims with remorseless coldness. This is Hannibal’s true identity.
Lecter does not kill out of passion. Like an unforgiving deity, he selects his victims by removing a business card out of one Rolodex, then a recipe from another. The murders are never shown, only their results. Maybe he is skewering an excised heart or trimming the fat off a liver. Perhaps he is shaving a leg muscle to make prosciutto or grinding it to make sausage.
Cut away to Hannibal Lecter, dining with the show’s other characters. A painstakingly prepared multicourse dinner, plated with an artist’s attention to detail: a feast not only for the mouth, but also for the eye. Every meal is paired with the perfect wine or aperitif, every dish presented stylishly. The guests exclaim about how delicious it is while the viewer spasms in ecstasies of dramatic irony: Oh no, don’t eat that!
Lecter, played with icy control by Mads Mikkelsen, is motivated by amused curiosity. Godlike, removed from emotion, he manipulates not only his victim’s bodies, but also their minds. In the first season, he is fascinated by Will Graham, the only person capable of truly knowing him. By taking advantage of their friendship and Will’s illness, Lecter uses the therapeutic process to convince everyone that Will is the Ripper. Lecter’s frame job is so thorough that at first, even Will isn’t sure if he committed the crimes. No one believes his pleas of innocence.
The idea that a malignant being could enter one’s psyche and rearrange thoughts and memories like so much furniture is Kafkaesque. Maiming a man’s sense of self to convince him that he mutilated other humans offers the viewer a twofold horror: violation of the sanctity of both the body and the mind.
If the show meant the horrors it depicted to be viewed realistically, it would collapse under the weight of its own outlandishness. Instead, the viewer enters a world where the most horrifying aspects of being a human being are explored. Our bodies are fragile, our minds vulnerable. We are easy prey for a nearly omnipotent devil such as Hannibal Lecter.
That’s why watching Will Graham catch him will be all the sweeter.
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2024-07-12T14:06:28+00:00
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For other uses, see Hannibal (disambiguation). Hannibal is a 2001 film based on the book of the same name by Thomas Harris and the sequel to the Academy Award-winning film The Silence of the Lambs. Hannibal Lecter returns to America and attempts to make contact with disgraced Agent Starling and...
|
en
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https://static.wikia.nocookie.net/hannibal/images/4/4a/Site-favicon.ico/revision/latest?cb=20210516173531
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Hannibal Wiki
|
https://hannibal.fandom.com/wiki/Hannibal_(film)
|
“
As your mother tells you, and my mother certainly told me, it is important, she always used to say, always to try new things.
— Dr. Hannibal Lecter, before feeding an unknowing boy human brain
”
For other uses, see Hannibal (disambiguation).
Hannibal is a 2001 film based on the book of the same name by Thomas Harris and the sequel to the Academy Award-winning film The Silence of the Lambs.
Plot[]
Hannibal Lecter returns to America and attempts to make contact with disgraced Agent Starling and survive a vengeful victim's plan.
Cast[]
Anthony Hopkins as Dr. Hannibal Lecter
Julianne Moore as Clarice Starling
Gary Oldman as Mason Verger
Ray Liotta as Paul Krendler
Giancarlo Giannini as Chief Inspector Rinaldo Pazzi
Željko Ivanek as Dr. Cordell Doemling
Hazelle Goodman as Evelda Drumgo
Frankie R. Faison as Barney Matthews
Ivano Marescotti as Carlo Deogracias
Francesca Neri as Allegra Pazzi
Danielle de Niese as Beatrice
Synopsis (contains spoilers)[]
The film takes place ten years after the events depicted in The Silence of the Lambs. In the opening scene, Barney, one of Hannibal Lecter's care givers at the Baltimore hospital, talks to a disfigured and paraplegic man, Mason Verger, about the conversations Barney had with Lecter and Lecter's relationship with Clarice Starling. Barney then shows Verger a boxed object he's brought with him: the leather restraining mask used to cover Lecter's face when he was being transported. Barney asks for a price of $250,000 for it and Verger eagerly accepts.
FBI agent Clarice Starling is in Washington DC, leading a raid to arrest an HIV-positive drug dealer named Evelda Drumgo. Though Starling has laid out precise plans to the arresting team, the raid is horrifically botched when one of the agents rushes Drumgo and her gang after Starling orders them to stand down because Drumgo is carrying an infant. When Clarice orders Drumgo to surrender, Drumgo whips out a machine pistol and opens fire, hitting Clarice. Clarice responds reflexively and shoots and kills Drumgo, splattering the infant with her blood, as well as four other gang members. During the gun battle, a number of agents are also killed. Clarice, who had been wearing a bulletproof vest, recovers the child and washes it off with a nearby hose. Starling is disgraced by Justice Department official Paul Krendler, whose romantic advances Starling had rejected years earlier.
As a result of the publicity surrounding the drug raid, Starling and her past connection to escaped serial killer Hannibal Lecter comes to the attention of one of Lecter's victims, Mason Verger, who is also a wealthy, sadistic pedophile. Verger, Lecter's fourth victim, was the only victim to survive Lecter's killing spree, still seeks revenge for what occurred. He uses his political influence to have Starling assigned to the Lecter case once again in the hope that this will draw Lecter out of hiding.
At Muskrat Farm, the Verger's estate, Verger claims to have new information about Lecter (an X-ray), which he is willing to disclose only to Starling, and she is sent to his estate to collect it and interview him. Upon her arrival, Verger tells Starling about his history with Lecter. They met when Lecter was assigned by a court as Verger's therapist after Verger's conviction on multiple counts of child molestation. Verger invited Lecter to his pied de terre. While showing Lecter his noose used for auto erotic asphyxiation, Lecter offered Verger an amyl popper. In reality, it was a cocktail of hallucinogenic drugs. Lecter then convinced Verger to cut off his face and feed it to his dogs, then snapped his neck with the noose. Verger is now horrifically disfigured and bedridden and confined to his secluded mansion, but with the assistance of his personal physician Cordell and other minions, he is pursuing an elaborate scheme to capture, torture and kill Lecter.
In Florence, Italy, Chief Inspector Rinaldo Pazzi of the Questura is investigating the disappearance of the curator of the Capponi Library, a Renaissance palace that serves as a repository of rare books, historical documents, and art treasures. In the course of his investigation, Pazzi meets the new curator: "Dr. Fell," who is actually Hannibal Lecter. Lecter greets Pazzi, claims not to know of his predecessor's whereabouts. He also notes that Pazzi is related to Francesco di Pazzi, who was executed many centuries before by hanging and disembowelment. Lecter mentions that Pazzi was also struck off the Il Mostro serial killer case.
As Verger surmised, Lecter soon learns of Starling's public disgrace and reassignment to his case, and he sends her a letter that is at once sympathetic and mocking. The letter contains no apparent clue to Lecter's whereabouts, but Starling detects a strange fragrance upon it. She takes it to a perfume company, where the experts inform her that the writer used a very expensive skin cream that could have been sold in only a few shops in the world, one of which is in Florence.
Starling contacts the police departments of the cities where the shops are located, including Pazzi's department, asking for copies of any surveillance tapes made by cameras installed in the shops. When Pazzi sees one of his men making a copy of such a tape for Starling, he recognizes "Fell" in the tape and decides to find out why the FBI is interested in him. Pazzi accesses the FBI's database of fugitive criminals and learns that "Fell" is Hannibal Lecter. He also learns that Verger is offering a reward of $3 million to anyone who assists him in capturing Lecter in lieu of turning him over to the FBI (who offer a $250,000 reward). Hoping to collect the larger bounty, Pazzi makes contact with Verger's people and agrees to help them kidnap Lecter. Starling, meanwhile, has received the surveillance tape from Florence, has recognized Lecter, and has learned that Pazzi has been using the FBI's database to check on Lecter. She calls Pazzi and warns him against trying to capture Lecter himself, describing the brutal escape from ten years ago, but Pazzi ignores her warning.
Pazzi coerces a local pickpocket into wearing a cheap bracelet and attempting to rob Lecter. The pickpocket follows Lecter through the streets of Florence. When he reaches for Lecter's wallet, Lecter grabs him by the wrist (and the bracelet) and slyly stabs the man in the upper leg, severing his femoral artery. Pazzi finds the thief and takes the bracelet from him, leaving him to bleed to death on the street. Pazzi sends the bracelet with Lecter's prints to Verger who has them confirmed as Lecter's.
Pazzi and Verger's men try to kidnap Lecter after his scheduled evening lecture on the poetry of Dante to a group of scholars at the Palazzo Vecchio, but their plan goes badly awry. After the lecture, Lecter chloroforms Pazzi, knowing of his plan to sell him to Verger. When he wakes, Pazzi is confined to a hand truck with a noose over his neck. Lecter interrogates Pazzi, forcing him to answer several questions by threatening to kill and eat Pazzi's wife. Lecter murders Pazzi by first slashing open the man's abdomen and then throwing him off an upper floor balcony with a noose around his neck, disembowelling him in the process -- the same fate of Francesco, Pazzi’s ancestor. Lecter then escapes, slashing the throat of one of Verger's henchmen, deciding to return to the United States to renew his acquaintance with Starling.
Frustrated by the failed attempt to kidnap Lecter, Verger tries to draw him out of hiding once again by getting Starling into more trouble. He bribes Krendler to accuse her of withholding a note she received from Lecter. The ploy works, and Starling is suspended from duty. Verger's men keep her under surveillance in the hope that Lecter will contact her. Lecter, meanwhile, has been watching her and also watching Krendler. Lecter then buys china and crystal for an elaborate meal and also steals surgical equipment from a hospital. He takes everything to a secluded lakefront house that he has learned belongs to Krendler.
Lecter then contacts Starling, luring her to Washington's Union Station for a meeting. Verger's men follow her there. As Starling looks for Lecter among the crowd of travelers and shoppers at the station, she and Lecter converse by cell phone. He expresses his admiration for her and his sympathy for the shabby treatment she has received from the FBI, at one point suggesting that he might force the people who have disrespected her to "scream apologies." He ends the conversation by luring her to a photo booth, with shoes in there. He hangs up, saying he hoped she liked the skin cream.
Having spotted Lecter, Verger's men capture him in the station's parking lot despite Starling's efforts to stop them. Starling makes a fruitless attempt to expose Verger's scheme to the FBI. Meanwhile, Verger's men transport Lecter to the Verger estate. Verger greets Lecter and graphically describes his plan, he plans to watch Lecter being eaten alive by a herd of vicious wild boars that Verger — an expert at swine breeding from his days in the family meatpacking business — has prepared especially for the purpose. Verger taunts Lecter, saying he probably wished that he fed the rest of him to the dogs. Lecter merely replies that he much prefers Verger in his current state.
When the FBI refuses to act on her report that Verger has kidnapped Lecter, Starling goes alone to Verger's estate. She intervenes as Verger's henchmen are about to unleash the pigs on Lecter, shooting the men and freeing him, but she is shot and wounded in the shoulder. Lecter then rescues her from the animals. When a furious Verger orders his physician Cordell to shoot Lecter, Lecter persuades Cordell (who has always hated his master) to throw Verger into the pen with the hogs instead, and Verger dies in the very manner in which he had hoped to kill Lecter, Lecter having assured Cordell he will take the blame for the deed. Early next morning, on 4th July, Krendler is ambushed at his house by Lecter.
Lecter takes Starling to Krendler's lakefront house and treats her bullet wound. She awakens in an upstairs bedroom, dressed for a formal occasion. On her way downstairs, she finds a phone and calls the police. Instead of taking their advice and leaving the house to wait for their arrival, she looks for Lecter downstairs. She finds him in the dining room where he has set the table as if for an elegant dinner party, watched by the seated Krendler, who has been heavily drugged. As Starling looks on, horrified, Lecter removes the top of Krendler’s skull, cuts out part of his brain (the pre frontal cortex, the part that Lecter says is “associated with good manners”), sautés it in a pan by the table, and feeds it to the dazed Krendler. Clarice, almost vomiting, pleads with Lecter to stop and saying she'll give him the details of the FBI’s profile on him so he can escape. Lecter rebukes the offer.
When Lecter wheels Krendler back to the kitchen to clear up after the “meal,” Starling attacks him with a silver candlestick but is easily overpowered. Lecter traps her hair in the fridge. He asks her, “Tell me Clarice, would you ever say to me, ‘Stop ... if you loved me, you’d stop’?” To which Starling replies, “Not in a thousand years.” Lecter replies with, “That’s my girl," then kisses Starling. Just as he is about to leave, thinking he's won, he hears a click and sees that Starling has handcuffed his wrist to her own. When she refuses to provide the key, Lecter pins her wrist to a table and brandishes a meat cleaver. He raises it and says, "This is really going to hurt." Next we see Starling outside the house, looking for Lecter, who escaped just before the police cars arrived, and both her hands are intact.
The last scene is of Lecter on an airplane. One of his arms is in a sling. His hand is not visible. He is preparing to eat the boxed meal he has brought with him, and a small boy sitting next to him asks about the food. Lecter opens the container to reveal several kinds of food, among which is what appears to be part of Krendler's brain, cooked and sliced. The boy asks to try the brain. Lecter is both intrigued and impressed and allows him to, saying that his mother always told him to try new things. Lecter feeds the brain to the boy as the camera pans out.
Gallery[]
View the complete gallery
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2012-08-23T00:00:00
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A strange tasting creature...
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en
|
https://secure.gravatar.com/blavatar/3bbb8ad25d38f65c2c239495009bb41255065dc8a623bb5fcb514398a470ecb4?s=32
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the m0vie blog
|
https://them0vieblog.com/2012/08/23/non-review-review-hannibal/
|
I actually have a bit of a soft spot for Hannibal. I think the key to enjoying and appreciating Ridley Scott’s 2001 serial-killer film is to realise that it’s a fundamentally different animal to The Silence of the Lambs, to the point where it isn’t really a sequel – despite featuring many of the same characters and considerably fewer of the same actors. Those expecting a faithful follow-up or conclusion will be disappointed, as will those who fell in love with Jonathan Demme’s delightfully understated The Silence of the Lambs. Even the title character here seems to lack the complexity he demonstrated in that earlier instalment, instead acting like the villain of a slasher film cast in the unlikely role of an anti-hero.
Still, despite these flaws, Hannibal is quite entertaining (if far too uneven and unsatisfying) on its own terms.
What had been nuanced and sophisticated in The Silence of the Lambs suddenly becomes loud and overstated. We’re not just talking about the graphic horror here. (Although Hannibal does feature one of the most weirdly gratuitous graphic horror scenes in recent memory.) Even the themes, characters and subtext are all grossly over-simplified, to the point where it seems very little is actually left to the viewer to interpret or to judge on their own terms.
Consider, for example, the plight of Special Agent Clarice Starling, perhaps the biggest single problem with the film. Despite the fact that everybody came out of The Silence of the Lambs talking about Anthony Hopkins as Hannibal Lecter, The Silence of the Lambswas very clearly the story of Clarice Starling finding her place in the FBI and helping to track down a serial killer. Lecter only appeared on-screen for under half-an-hour, and somehow managed to dominate the film. Still, it was Clarice with whom we emotionally connected, and in whom we emotionally invested.
In Hannibal, Clarice feels a lot less important. She’s really just an object of Lecter’s affections. In fact, the cartoonishly evil Mason verger explicitly targets Clarice as a means of getting at Hannibal. “When the Fox hears the Rabbit scream he comes a-runnin’,” Mason explains, “but not to help.” The problem is that this really denies Clarice her own arc. In The Silence of the Lambs, Clarice is assisted by Lecter, but she is the one who makes the logical connections that drive the plot forward and eventually lead to Jame Gumb.
Here, Clarice appears as a much less compelling and a much less dynamic character. The most dynamic things that she does over the course of the movie involve (a.) tracking down the personal phone number of an Italian police officer and (b.) deducting that the ridiculously evil!Mason Verger must be connected with the abduction of Hannibal Lecter. Recast from Jodie Foster to Julianne Moore, it’s a massive disappointment to see the character diminished in such a way. Moore is a great actress in her own right, but she’s an ill fit for Starling.
Consider and contrast how Moore and Foster portray Starling coping with institutionalised sexism. Foster rather wonderfully polite and amicable dismissals of Frederick Chilton are rather wonderful character moments. Moore’s interactions with Ray Liotta’s Paul Krendler lack any of that nuance. “I wasn’t speaking to you, Mr. Krendler,” she advises him. “When I speak to you, you’ll know it because I’ll look at you.” Foster would have delivered the line in a matter-of-fact way with a very clear subtext, but one that concealed a fairly obvious hatred. Moore’s line-reading makes it seem a small wonder she hasn’t reached across the table to choke him.
Of course, it doesn’t help that the subtext about Clarice’s position in a world dominated by men is far less subtle this time around. Her first scene has her verbally smacking down local law enforcement, who seem a bit uncomfortable taking orders from a woman. Later on, she receives a letter, “It’s from the Guinness Book of World Records congratulating me on being “The Female FBI Agent Who Has Shot The Most People.”
While The Silence of the Lambs got the point across rather well with a few silent shots of Clarice in a field dominated by men (that single fantastic shot of the tiny Jodie Foster in an elevator packed with massive men), Hannibal labours the point ridiculously – to the point where it seems to be the only angle on Clarice as a character. She’s surrounded by men who objectify her, with Paul Krendler dismissing her as “cornpone country pussy” while giggling at obscene doodles, and even the Italian Agent Benetti, who has never seen her, draws naked images of her.
It seems that every man in Hannibal who isn’t Lecter himself is some sort of deviant, pervert or sexist. (Even Barney, the polite nurse who worked on the ward and who tends to dead pigeons, is revealed as something of a profiteer, selling stolen Lecter merchandise.) Krendler is, of course, the most obvious example. “I always figured him for a queer,” Krendler states of Lecter. “All this artsy-fartsy stuff. Chamber music and tea-party food. Not that I mean anything personal, if you’ve got a lot of sympathy for those people.” What a nice man.
It seems that, between The Silence of the Lambs and Hannibal, all the decent men in Clarice’s life have disappeared, replaced by sexist and homophobic stereotypes. Where are are the science nerds she used to hang out with? Since Scott Glen refused to reprise the role of Jack Crawford, Crawford is absent from the movie. Of course, there’s a reason for this attempt to isolate Starling – the movie is very clearly trying to position Hannibal as the most decent man in Clarice’s life. It seems just a bit disingenuous, especially given how manipulative and passive-aggressive he was to her in The Silence of the Lambs, even after she’d gained his respect.
So, with a much simplified Clarice Starling, Hannibal exists without a real emotional anchor. After all, it’s very tough to make us care about Hannibal Lecter, or to allow us to understand him. We might find him charming, and empathise with him more than we do with anyone else, but he’s still somewhat inscrutable. Then again, the script makes the somewhat dubious decision to try to cast Lecter as something of an anti-hero. Not only is the only man in Clarice’s life who seems to genuinely care about her, but he’s also retroactively cast as something of a romantic hero, a character who uses disgusting methods, but against those who deserve it.
“He said that whenever possible,” Barney recalls of Lecter, “he preferred to eat the rude.” There’s even an attempt to recast his brutal escape from the Memphis Police Department in The Silence of the Lambs. “They weren’t civil to him,” Barney states. “And they’re all dead now.” That’s a bit funny, because I recall them being much more civil than Chilton ever was. They respected his artwork and were careful not to disturb anything belonging to him. He killed them all because they got in his way, and he would have killed them no matter how they acted towards him. Still, that doesn’t suit the film’s reimagining of Lecter, so it gets omitted.
Clarice suggests that Lecter was motivated to kill and eat “to show his contempt for those who exasperate him, I think. Or, sometimes, to perform a public service.” It does portray Lecter as something of an anti-hero. Certainly, he spends a lot of Hannibal killing people who would never be missed. He kills pick-pockets, crooks, mercenaries and creepy child abusers. The most innocent victim mentioned during the film would seem to be his predecessor in Florence, but it’s only fleetingly touched upon. When we do revisit the one survivor of Lecter’s assaults, it’s the monstrous Mason Verger who seeks to hunt down Hannibal.
Even though Verger is the most cartoonishly vile character ever imagined, the movie is still careful in its portrayal of Hannibal’s assault on him. We don’t see Lecter being excessively brutal in dealing with the child molester. Instead, he dopes him up on a “popper”, and has Verger carve his own face off. Like Thomas Harris, the movie carefully ignores any characterisation or past history that might suggest Lecter was an unrepentant psychotic murderer. Harris has never, for example, really acknowledged the college coed victims he mentioned in passing in Red Dragon all those years ago.
And then there’s the weird relationship between Lecter and Clarice. There’s no denying that, in The Silence of the Lambs, he was fascinated by her. However, Hannibal takes that relationship and heightens it ridiculously. Unlike the book, the film acknowledges that to have Clarice run off with Hannibal might be too much, and that it would be too great a betrayal of her character, but it also seems to suggest that Clarice is somehow the less objective or sane of the pair.
Hannibal repeatedly points out how misplaced her faith in the Bureau is. “Would they have you back, you think?” he goads her at one point. “The FBI? Those people you despise almost as much as they despise you. Would they give you a medal, Clarice, do you think? Would you have it professionally framed and hang it on your wall to look at and remind you of your courage and incorruptibility? All you need for that, Clarice, is a mirror.” He is, of course, correct – and the movie is never sure how Clarice should respond to that. The end result is that Clarice appears as this incredibly weak and indecisive figure, without the courage to embrace her psychotic par amour, while Lecter seems like this tragic romantic lead.
In fact, the final sequence of the film cements this view of the relationship, as Clarice handcuffs herself to Lecter to hold the criminal in place. Now Clarice is between Lecter and his freedom – just like the Memphis Police Department. The object seems to be to place Lecter in a situation where he is forced to either surrender or to harm Clarice. In the end, he takes a third option – one that seems to prove to the audience that he reallydoes love her and that Clarice fundamentally misunderstands him. Hannibal Lecter, the serial killer cannibal, is the poor noble victim in all this.
In fact, the only character who seems to understand that Lecter and Starling have nothing approaching anything that could ever be a happy romantic relationship is Mason Verger.
No matter how Barney might want to romanticize it and try to make it Beauty and the Beast, Lecter’s object – as we know from personal experience – is always degradation and suffering. He comes in the guise of a mentor – as he did to me – and her – but it’s distress that excites him. To draw him – if that’s the goal – she needs to be distressed. If you want to make her attractive to him, let him see her distressed. Let the damage he sees suggest the damage he could do.
The problem is that the movie paints Verger as such an obviously evil character that his viewpoint is casually dismissed.
The problem with the movie’s relatively simple approach to the romantic dynamic is that this reduces and diminishes both Hannibal and Clarice as characters in their own right, removing a lot of the complexity and ambiguity that made the two characters (and their relationship) so appealing in the first place. Instead of being these very strange (and yet very human) relationship between two very complex people, instead it’s reduced down to something approximating The Bride of Frankenstein. It’s not a bad approach of itself, it’s just one that feels like a disservice to both characters involved.
I’ve spent a great deal talking about what I didn’t like about the film – and those are fundamental flaws. However, there’s also a great deal that I do like. And, perhaps logically, it’s the elements of the film that neglect Clarice. I actually don’t mind the stuff about Hannibal by himself, even if he does feel quite watered down. I do like that the movie makes a point to explore the rather surreal fascination that the public and media has with serial killers, as it returns a few times to the market value of Lecter-related materials.
“There used to be more,” a clerk in evidence advises Clarice, “but it’s been picked over little by little over the years. It’s worth a lot of money in certain circles.” Barney, the faithful nurse from the hospital, has made quite a living selling on Lecter’s personal possessions, to the point where one must wonder whether the Doctor would consider such cynical “profiteering” to be “polite.” It feels like an interesting commentary on the media’s preoccupation with the grotesque crimes of such monsters, but it also seems like a reflection on Lecter himself as a character.
In a way, the audience are complicit in the character’s decline. We, after all, demanded more and more of him – to the point where he ended up as little more than a stock serial killer. We took a character who had been massively and intriguingly compelling, and wanted more and more of him until he eventually became this watered-down shell of his former self. There’s something decidedly grim in this trading of serial killer memorabilia, but there’s also in our demands for movies and media about such characters.
Anthony Hopkins is having a great time as Lecter, relishing the cheesy b-movie one-liners he has to rattle off. I think that it’s fair to argue that Hopkins made Lecter such a compelling character. After all, the superb Brian Cox couldn’t really measure up to Lecter’s performance, and nobody was clamouring to see Cox in The Silence of the Lambs. While the material there was stronger, Hopkins still relishes the role.
“Let’s get something to eat,” Pazzi’s wife suggests to her husband. Lecter, left alone, fiendishly asks himself, “Why not?” Hopkins seems to love the goofy little flourishes that the script gives Lecter, like his repeated use of the endearingly laissez faire “okay dokey.” One moment sees Lecter creeping up on an unsuspecting bad guy. “Good evening,” he boasts while slicing the random thug’s throat, his eyes wide with fiendish glee, his performance more hammy than the subtle loss of restraint at the climax of The Silence of the Lambs.
And yet, despite that, there remains some complexity to Lecter as a character. Although he fits quite uncomfortable in the role of anti-hero, the movie does suggest that there is a strange psychology at work. Lecter seems compelled by his instincts, rather than governed by the rational logic he seems to prefer. By the time we join him, he has been on the run for some time, and has gone under the radar. And yet he seems to self-sabotage repeatedly.
As he writes to Clarice, he notes, “By the way I couldn’t help noticing on the FBI’s rather dull public website that I have been hoisted from the Bureau’s archives of the common criminal and elevated to the more prestigious 10 Most Wanted list. Is this coincidence, or are you back on the case? If so, goody goody, cause I need to come out of retirement and return to public life. ”
It seems strange that Lecter would murder a lecturer and usurp his job just as he was placed back on the “10 most wanted” list, and he seems to relish his cat-and-mouse games with Pazzi. (Though, it seems, they are a poor substitute for Clarice.) Even his return to the United States seems like a tactical error, hardly the actions of somebody who wants to stay under the rader.
Still, the more hammy performance suits the film. At its best, Ridley Scott foregoes the psychological drama of The Silence of the Lambs for a more visceral grand guginol approach to horror. Bowels fly everywhere. Lecter serves up some home cooking. There are pigs trained to feed when they hear the sound of human screams. All of these are ridiculous and absurd – and very much against the buttoned-down realism of Demme’s approach to The Silence of the Lambs. I think that’s why they work much better than the moments where Scott tries to channel Demme and convince us to invest in Clarice or Lecter as characters in their own right.
I really love the movie’s second act, where Moore’s awkward and stilted version of Clarice is conspicuously absent. Giancarlo Gianni is cast as the grizzled and corrupt Italian police officer who finds himself investigating the disappearance of a librarian that eventually leads back to Lecter and the promise of a $3,000,000 reward. The film is perhaps a little too simplistic in its portrayal of Pazzi, but he makes a nice counterpoint to the other law enforcement officials to cross paths with Lecter.
Like Starling and Will Graham, Pazzi has a very clear background in the psychology of serial killers. He worked on the Il Mostro case. The film is somewhat ambiguous on the matter – was Pazzi still investigating the famous 70’s and 80’s serial killer, or have there been a new spate of murders in Florence? If so, it seems likely that Lecter has been active in Florence than we might have suspected. Either way, it solidifies Pazzi as a counterpart to Will Graham and Clarice Starling, a detective hunting a serial killer and consulting with Lecter. (This is made more explicit int he deleted scenes, which explicitly see Lecter consulting with Pazzi on it. It’s a shame they were cut. The Florence sequence is the best of the film.) The difference, of course, is that Lecter is no longer behind bars.
Lecter’s interactions with Pazzi are arguably the most fascinating interactions of the film, even moreso than Lecter’s later interactions with Clarice. There’s a sense that Lecter is matching wits with another character in competition – albeit this time the roles are reverse. Clarice and Will Graham were heroes to Lecter’s admittedly charming villain. Here, Pazzi is quite clearly the antagonist.
And yet, despite the movie’s clumsy attempts to cast Pazzi as a villain, Gianni manages to find some measure of tragedy in the police inspector as he is needled by Lecter. “Were you unfairly dismissed from the grander case?” Lecter teases him. “Or did you deserve it?” Later on, he suggests that Pazzi’s career has been smothered by those around him, a remark that clearly strikes at the detective. “But people don’t always tell you what they’re thinking… They just see to it you don’t advance.”
Pazzi is a character who has made the reverse of the decision that Starling and Graham made. While both investigators sacrificed their family lives in order to pursue justice, Pazzi has done the opposite. He’s willing to forget about his legal obligations in order to ensure that his wife is happy. While her fixation on opera tickets is somewhat shallow, it’s hard not to feel some measure of pity for Pazzi, particularly when the culmination of Starling and Graham’s character arcs demonstrate that integrity is no more likely to earn a happy ending in this cynical world.
The movie does seem a bit too quick to portray Pazzi as an out-and-out villain, with Lecter even delivering a thematically-appropriate lecture as their dance leads towards a merry climax. “In fact, avarice and hanging are linked in the medieval mind,” Lecter boasts, in case we were ever unsure of who the film wants us to root for. The film seems afraid to present Pazzi is a sympathetic character, because it might challenge our affection and support for Lecter as a character. It seems a strangely moral position for a movie with a serial killer as a protagonist.
Hannibal is clearly constructed as a loving homage to The Silence of the Lambs. There’s a wonderful establishing shot of Florence of “the Duomo seen from the Belvedere”, a reference to Lecter’s drawings in the earlier film. (“Memory, Agent Starling, is what I have instead of a view.”) There are moments when this reverence for the earlier film threatens to become too much. “Hello, Clarice,” he coos just like he did before. At the climax, changes into a white shirt, recalling his prison outfit.
Hans Zimmer’s score is wonderful stuff. I especially like his composition of Let my Home be my Gallows, the song that plays over Lecter’s lecture in Florence. The Florence sequence really is the best part of the film, and it’s a shame that the movie really felt the need to drag in the simplified version of Clarice Starling or the cartoonishly evilMason Verger into its first and third acts. (Although the film gets points for not having Verger drink martinis mixed with the tears of children – a hobby of his in the book.)
Gary Oldman actually does a great job as Verger, hidden beneath all that make-up. Verger is a ridiculous character, because he really seems like a clear attempt to construct the most despicable character ever. Oldman manages to make this enjoyable in its own way, as he relishes frightening people with his ghastly appearance, loves talking about the way he used to abuse children (even when not connected to the topic at hand), and even seems to enjoy mocking his live-in doctor. (“You could be useful, seeing about my lunch,” Verge informs Cordell, who is clearly putting that medical degree to good use.)
Part of me likes Hannibal, on its own terms. It’s a completely different animal from its predecessor. I actually sincerely enjoy the middle third, featuring Lecter on the loose in Florence. It feels like the movie manages to cut loose of its baggage there. Unfortunately, it doesn’t quite last, and the result is a decidedly uneven film, but certainly not one without its moments.
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2012-04-25T19:34:18+00:00
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Hannibal the Cannibal is back in Scott’s mordantly funny, darkly romantic Silence of the Lambs sequel. With Anthony Hopkins in top form, and Julianne Moore ably picking up where Jodie Foster left off.
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en
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https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/favicon.ico
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Film at Lincoln Center
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https://www.filmlinc.org/films/hannibal/
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Few Hollywood missions of recent years were more daunting than making a credible sequel to The Silence of the Lambs, yet Hannibal manages and then some. Taking his cues from Thomas Harris’ hugely anticipated novel, Scott plays up the dark love story hinted at but never fully explored in Lambs, as FBI Special Agent Clarice Starling (Julianne Moore, capably stepping into Jodie Foster’s formidable shoes) finds herself lured back into the orbit of the grandiloquent psycho Dr. Hannibal Lecter (Anthony Hopkins). Ten years after the events of the previous film, one of Lecter’s vengeful victims—the disfigured child molester Mason Verger (Gary Oldman)—tries to use Starling to lure the fugitive Lecter out of hiding, so that he can, in turn, feed the good doctor to dogs (or, rather, a pack of voracious wild boars). But Lecter is, as usual, several steps ahead of even the clever Clarice, culminating in a touching dual act of romantic heroism and a dinner date that gives new meaning to the phrase “you are what you eat.” At every step, Hopkins plays his signature character with the amused, lip-smacking perfection of Noel Coward in his prime, in a movie that is, in every respect, vastly better than it has any right to be.
“The movie, handsomely photographed by John Mathieson, lives in the shadows and in subtle shades of temptation. Lecter, for instance, is tempted by Clarice's purity; he needs to devour it, if only to see if he has the will to spit it out. Caressing her hair is not enough. Can the vampire kiss the virgin? Can she resist? These, not the grotty little murders, are the crucial, thrilling issues at Hannibal's dark heart.” —Richard Corliss, Time
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SmokeScreeners Rating:
Year of Release: 2001
MPAA Rating: R
Director: Ridley Scott
Distributor: Universal Pictures
This film was reviewed by Dr. Barry Hummel of QDREF on April 14, 2012.
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2001-02-16T00:00:00
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<p><strong>Peter Bradshaw:</strong> Anthony Hopkins turns up the camp as Hannibal Lecter in another showstopping performance</p>
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en
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the Guardian
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https://www.theguardian.com/film/2001/feb/16/1
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So much has happened since Dr Hannibal Lecter murmured his farewells to agent Clarice Starling over the phone in 1991. Jeffrey Dahmer, the most prominent of America's un-charming, un-cultured serial killers, has been beaten to death in Portage state prison, Wisconsin, by another inmate, without benefit of chianti or fava beans. British enthusiasm for psychological profiling as the new rock'n'roll came to an embarrassed halt with the collapse of the Colin Stagg prosecution over the Wimbledon Common murder.
And by 1993, chilled by the atmosphere following the Jamie Bulger case, Anthony Hopkins was saying: "We are living in an age of such horrors, and there are such terrifying films coming out, that I think it might be time to say: 'Enough is enough'. I don't think glorifying somebody like Lecter is a very good idea. It was an interesting portrait of the character – but let's not go on."
Times have changed. The moral anxiety of the 1990s has receded, along with our saucer-eyed credulity about the science of forensic psychology. The show goes on; Hannibal goes on. But he has returned as the hero, not of a serious psycho-thriller, but a Guignol horror comedy: sleek, fast-moving, more than a little absurd.
Clariiiiiiice is now at the peak of her brilliant career at the Bureau. But a bungled drug raid (not her fault) results in ignominy and leads to Dr Lecter himself getting back in touch. He may be a star of the FBI website (and none of us had heard of websites in 1991) but he chooses the most quaintly old-fashioned means possible: perfumed writing paper. He is in Florence, luxuriating in a Jamesian torpor in that ancient city of violence, cunning and refinement, and from afar he experiences in Clarice's distress a resurgence of his twisted gallantry and appalling appetites.
Julianne Moore takes over from Jodie Foster as Clarice and she does the quasi-military jogging-through-the-woods thing, familiar from the first time around, ploughing along with her Titian hair in a bright ponytail flopping from side to side. For action sequences, she can more or less carry off the combination of T-shirt, combats and handgun. But let's face it, neither Clarice nor Julianne is getting any younger. So Moore seems happier bringing a new, languorous sensuality to Clarice's personality – a sexy woman-of-the-world maturity – most prominently when she reclines on a bed in a sexy gown, drugged up with morphine, while Dr Lecter is downstairs in the kitchen rustling up something unspeakable.
All that can be said of Anthony Hopkins is that he gives a showstopping turn at the centre of the picture. Ridley Scott does an expert job of – well, not directing him as such, but organising the flash-bang pyrotechnics around his reptilian yet bull-like figure, and just letting Hopkins get on with it.
Then there's that voice . It was always a mixture of Blanche Dubois and Richard III as spoken by Hopkins's first employer, Laurence Olivier. Now Blanche has got the upper hand. It's gamey, stagey, super camp: and distinctly un-American. (Despite being one of Baltimore's most famous products – along with Edgar Allan Poe and John Waters – Dr Lecter teasingly denies being American. In his menacing playfulness Hannibal is quite similar to Hopkins's fondly remembered stage performance as the Murdochesque newspaper proprietor in Howard Brenton and David Hare's Pravda.
Hopkins does not really look any older than when we last saw him as Dr Lecter, and he is one of those extraordinary actors whose age is indeterminate – now playing a character hardly different in age to the old war criminal he played in the TV series QB VII in 1974. The disappointment for Hannibal fans is that at no stage does Hopkins do that extraordinary rattlesnake-hiss with his tongue against his top teeth. On the loose, moreover, Hannibal loses some of the awful glamour he had when he was, for the want of a better word, restrained, and he can't do any of the forced encounters with Clarice that made Jonathan Demme's 1991 movie so interesting.
Like a vampire, Dr Lecter is at his best indoors, in darkness, or in the gloom of Florence's cloisters, where he affects sunglasses and a jaunty panama. He lectures on art history; he plays the Goldberg Variations. (In Hannibal 2, I'd like to hear him, in this high culture mode, read aloud from Ash Wednesday: "Lady, three white leopards sat under a juniper tree/In the cool of the day, having fed to satiety/On my legs my heart my liver and that which had been contained/In the hollow round of my skull.")
Speaking of which, we critics are forbidden on pain of being chomped from revealing the grisly finale. But anyone could see that the crooked justice department official Paul Krendler (Ray Liotta) is coming to a bad end. Not merely does he come on to Clarice in the most ungentlemanly way possible, but seriously disses Hannibal – calling him gay, of all the slanderous things! Krendler is certainly punished for the offensive assumptions underpinning that remark, and Dr Lecter's culinary predilections are given full and horrible expression. Ridley Scott has made a quite a meal of all this. But in 1991 Demme made it an intricate Le Caprice creation. This one leaves open the possibility of any number of sequels, like a franchise. I'm not sure I want fries with that.
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dbpedia
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https://en.wikipedia.org/wiki/Hannibal_(2001_film)
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en
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Hannibal (2001 film)
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2004-04-28T17:27:59+00:00
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en
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https://en.wikipedia.org/wiki/Hannibal_(2001_film)
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2001 film by Ridley Scott
HannibalDirected byRidley ScottScreenplay byBased onHannibal
by Thomas HarrisProduced byStarringCinematographyJohn MathiesonEdited byPietro ScaliaMusic byHans Zimmer
Production
companies
Distributed by
Metro-Goldwyn-Mayer (through MGM Distribution Co.; United States and Canada[1])
Universal Pictures (International)[2]
Release date
Running time
131 minutes[3]Countries
United States[1]
United Kingdom
LanguageEnglishBudget$87 million[4]Box office$351.6 million[4]
Hannibal is a 2001 American psychological horror crime thriller film directed by Ridley Scott and based on the 1999 novel by Thomas Harris. A sequel to the 1991 film The Silence of the Lambs, the plot follows disgraced FBI special agent Clarice Starling as she attempts to apprehend cannibalistic serial killer Hannibal Lecter before his surviving victim, Mason Verger, captures him. Anthony Hopkins reprises his role as Lecter, while Julianne Moore replaces Jodie Foster as Starling and Gary Oldman plays Verger. Ray Liotta, Frankie R. Faison, Giancarlo Giannini, and Francesca Neri also star.
Harris published Hannibal eleven years after the publication of The Silence of the Lambs (1988). Scott became attached while directing Gladiator (2000), and signed on after reading the script pitched by Dino De Laurentiis, who had produced Manhunter (1986), the first Lecter film. David Mamet and Steven Zaillian wrote the screenplay, and principal photography commenced in May 2000, lasting sixteen weeks.
Hannibal was released on 9 February 2001, ten years after The Silence of the Lambs. It was highly anticipated and broke box office records in the United States, Australia, Canada and the United Kingdom,[5] and grossed $351.6 million during its theatrical run, but received mixed-to-negative reviews;[6] critics praised the performances and visuals, but deemed it inferior to The Silence of the Lambs and criticized its violence. It was followed by a prequel, Red Dragon, in 2002, with Hopkins reprising his role as Lecter and Brett Ratner taking over as director.
Plot
[edit]
A decade after tracking down serial killer Jame Gumb,[a] FBI Special Agent Clarice Starling is blamed for a botched drug raid that resulted in the deaths of five people. Starling is contacted by Mason Verger, the only surviving victim of cannibalistic serial killer Hannibal Lecter, who has been missing since escaping custody. A wealthy child molester, Verger was paralyzed and disfigured by Lecter and has been pursuing an elaborate scheme to capture, torture, and kill Lecter ever since. Using his wealth and political influence, Verger has Starling reassigned to Lecter's case, hoping her involvement will draw Lecter out.
After learning of Starling's disgrace, Lecter sends her a letter. A perfume expert identifies the fragrance on the letter: skin cream with ingredients only available to a few shops in the world. In Florence, Chief Inspector Rinaldo Pazzi questions Lecter about a case. Lecter is now masquerading as Dr. Fell, a library assistant curator and caretaker.
Recognizing Lecter from the police surveillance tape Starling requested, Pazzi learns of Verger's $3 million personal bounty on Lecter. Seeking the money, he attempts to capture Lecter alone. Lecter severs the femoral artery of the pickpocket Pazzi recruited, then baits Pazzi into a room of the Palazzo Vecchio, disembowels him, and hangs him from the balcony. He also kills a Verger henchman.
Verger bribes Justice Department official Paul Krendler to accuse Starling of not disclosing a note from Lecter, leading to her suspension. Lecter gets Starling to come to Washington Union Station while speaking with her through mobile phones. Verger's men, having trailed Starling, capture and bring Lecter to Verger. Verger intends to feed Lecter alive to a herd of giant forest hogs bred for this purpose. Starling infiltrates Verger's estate and frees Lecter but is shot by a guard. The boars devour the two guards but ignore Lecter. Verger orders his physician Cordell Doemling to shoot Lecter, but Doemling shoves his hated boss into the pen instead as Lecter offers to take the blame. Lecter then carries an unconscious Starling away while Verger is eaten alive by his own boars.
Lecter treats Starling's wound at Krendler's secluded lake house before drugging Krendler. Starling, disoriented by morphine and wearing a cocktail dress Lecter put on her, awakens to find Krendler seated at the table for an elegant dinner. She watches in horror as Lecter opens Krendler's skull, removes part of his brain, sautés it, and feeds Krendler's own brain to him. Starling tries to attack Lecter, but he overpowers and kisses her. She uses the distraction to handcuff his wrist to hers. Hearing the police, Lecter raises a cleaver over her hand. After, Starling surrenders to the FBI with both her hands intact.
On a flight, Lecter, his arm bandaged in a sling, shares Krendler's cooked brain with a curious boy watching him eat, saying it is important to "try new things.”
Cast
[edit]
Development
[edit]
The Silence of the Lambs, based on the 1988 novel by Thomas Harris, was released in 1991 to critical and commercial success, winning five Academy Awards.[7] Harris spent several years writing a sequel novel; Silence of the Lambs director Jonathan Demme expressed interest in developing a film adaptation when the novel was complete.[8]
The film rights to the Lecter character were owned by producer couple Dino De Laurentiis and Martha De Laurentiis. After producing the first Lecter film, Manhunter, in 1986, they allowed Orion Pictures to produce The Silence of the Lambs free without their involvement. When The Silence of the Lambs became a success, the couple became eager for a new Lecter novel they could adapt. After a lengthy wait, De Laurentiis received a call from Harris telling him he had finished the novel and De Laurentiis purchased the rights for a record $10 million.[9]
In April 1999, the Los Angeles Times reported that the budget for an adaptation of Hannibal could cost as much as $100 million. It speculated that both Jodie Foster and Anthony Hopkins would receive $15 million each to reprise their roles and that Demme would receive $5 million to $19 million. Mort Janklow, Harris's agent at the time, told the Los Angeles Times that Foster, Hopkins, and Demme would soon receive manuscripts of the novel, claiming it would make an unbelievable film.[10] The novel sold out of its initial 1.6 million print run in 1999,[11] and went on to sell millions of copies.[12]
Demme declined the invitation to direct,[8] as he reportedly found the material lurid[13] and too gory.[14] In the 2010 Biography Channel documentary Inside Story: The Silence of the Lambs, Demme said: "Tom Harris, as unpredictable as ever, took Clarice and Dr. Lecter's relationship in a direction that just didn't compute for me. And Clarice is drugged up, and she's eating brains with him, and I just thought, 'I can't do this.'"[15] De Laurentiis said of Demme's decision to decline: "When the pope dies, we create a new pope. Good luck to Jonathan Demme. Good-bye."[9] He later said that Demme felt he could not make a sequel as good as The Silence of the Lambs.[16]
Ridley Scott
[edit]
De Laurentiis visited Ridley Scott on the set of Gladiator and suggested he direct Hannibal.[16] Scott, who was conducting principal photography on Gladiator, thought De Laurentiis was speaking about the Carthaginian general and replied: "Dino, I'm doing a Roman epic right now. I don't wanna do elephants coming over the Alps next, old boy."[8]
Scott read the manuscript in four sittings within a week, seeing it as a "symphony", and expressed his desire to direct.[8] He said: "I haven't read anything so fast since The Godfather. It was so rich in all kinds of ways."[11] Scott had reservations with the ending of the novel, in which Lecter and Starling become lovers: "I couldn't take that quantum leap emotionally on behalf of Starling. Certainly, on behalf of Hannibal—I'm sure that's been in the back of his mind for a number of years. But for Starling, no. I think one of the attractions about Starling to Hannibal is what a straight arrow she is."[11] He also did not find the book believable after the opera scene, "which became like a vampire movie". Harris gave Scott permission to change the ending.[11]
Writing
[edit]
Ted Tally, screenwriter for The Silence of the Lambs, was another key member of the Silence of the Lambs team to decline involvement. Tally, like Demme, had problems with the novel's "excesses".[13] David Mamet was the first screenwriter to produce a draft, which, according to Scott and the producers, needed major revisions.[9] Stacey Snider, co-chairman of Universal Pictures, said: "There's no way David was going to read 15 pages of our notes and then be available to work on the script day-to-day."[17] A script review at ScreenwritersUtopia.com describes the Mamet draft as "stunningly bad" but found Zaillian's rewrite "gripping entertainment".[18] Scott praised Mamet as fast and efficient, but said he passed on his draft because it needed work and he feared Mamet, who was soon directing his own film,[9] would be too busy to redraft it.[11]
Steven Zaillian, writer of Schindler's List, initially declined to write Hannibal, saying he was busy and that "you can almost never win when you do a sequel".[9] He changed his mind, as "it's hard to say no to Dino once and it's almost impossible to say no to him twice".[9] Scott said there were "very few rewrites once I brought in Steve Zaillian ... If you were to ask who were the best three screenwriters in the business, Steve Zaillian would be one of them. We discussed Hannibal endlessly."[11] One of Zaillian's key objectives was to revise Mamet's script until it pleased all parties, meaning that the "love story" would be told by suggestion instead of by "assault".[19] Scott worked through the script with Zaillian for 28 days, making him "sweat through it with him and discuss every inch of the way with him". After 25 days, Scott realized that Zaillian was "exorcising the 600 pages of the book. He was distilling through discussion what he was gonna finally do ... Frankly I could have just made it."[8]
Casting
[edit]
It was unclear if Jodie Foster (Clarice Starling) and Anthony Hopkins (Hannibal Lecter) would reprise their respective roles for which they won Academy Awards in The Silence of the Lambs (Best Actress/Best Actor). Both Hopkins and Foster had expressed interest.[10] It became apparent that the producers and the studio could do without one of the original "stars" and would go on to find a replacement. The withdrawal of both Foster and Hopkins could possibly have been terminal for the project, however. De Laurentiis confirmed this after the film's release: "First and foremost, I knew we had no movie without Anthony Hopkins."[16]
Involvement of Jodie Foster
[edit]
Foster told Larry King in 1997 that she "would definitely be part of" a sequel to The Silence of the Lambs.[11] In the same year, she told Entertainment Weekly: "Anthony Hopkins always talks about it. I mean, everybody wants to do it. Every time I see him, it's like: 'When is it going to happen? When is it going to happen?'"[20] De Laurentiis thought Foster would decline once she read the book, and believed the final film was better for it.[8] Hopkins also had doubts Foster would be involved, saying he had a "hunch" she would not be.[8]
Foster confirmed that she had turned down the film in December 1999.[21] This caused problems for Universal and production partner Metro-Goldwyn-Mayer.[9][20] "The studio is just back from the holiday and is regrouping based on the news, and has no cohesive game plan at the moment," said Kevin Misher, Universal's President of Production.[9] Misher added that, "It was one of those moments when you sit down and think, 'Can Clarice be looked upon as James Bond for instance? A character who is replaceable?' Or was Jodie Foster Clarice Starling, and the audience will not accept anyone else?"[9] Foster said in December 1999 that the characterization of Starling in Hannibal had "negative attributes" and "betrayed" the original character.[21]
Foster's spokeswoman said she declined because Claire Danes had become available for Foster's film Flora Plum.[22] Entertainment Weekly described the Hannibal project as having become "a bloody mess, hemorrhaging talent and money" despite Hopkins being on board.[20] In 2005, after the film had been released, Foster told Total Film: "The official reason I didn't do Hannibal is I was doing another movie, Flora Plum. So I get to say, in a nice dignified way, that I wasn't available when that movie was being shot ... Clarice meant so much to Jonathan and I, she really did, and I know it sounds kind of strange to say but there was no way that either of us could really trample on her."[23]
Julianne Moore as Clarice Starling
[edit]
When it became clear that Foster would skip Hannibal, the production team considered several different actresses,[8] including Cate Blanchett, Angelina Jolie, Gillian Anderson, Hilary Swank, Ashley Judd, Helen Hunt and Julianne Moore.[9] Hopkins asked his agent if he had any "power" over casting. He informed De Laurentiis that he knew Moore, with whom he had worked on Surviving Picasso, and thought her a "terrific actress".[8] Although Hopkins' agent told him he had no contractual influence on casting, Scott thought it correct to discuss who would be Hopkins' "leading lady".[8] Scott said he was "really surprised to find that [he] had five of the top actresses in Hollywood wanting it."[11]
Scott said his decision was swayed in favor of Moore: "She is a true chameleon. She can be a lunatic in Magnolia, a vamp in An Ideal Husband, a porn star in Boogie Nights and a romantic in The End of the Affair."[11] "Julianne Moore, once Jodie decided to pass, was always top of my list," said Scott on his female lead.[24] Moore talked about stepping into a role made famous by another actress: "The new Clarice would be very different. Of course people are going to compare my interpretation with that of Jodie Foster's ... but this film is going to be very different."[25]
Anthony Hopkins as Hannibal Lecter
[edit]
Hopkins was generally expected to reprise his Academy Award-winning role. Hopkins said in June 1999 that he would only be interested if the script was "really good".[citation needed][26][better source needed] Hopkins said he could not make up his mind to commit: "I was kind of surprised by this book, Hannibal. I thought it was really overreaching and so bizarre. So I couldn't make up my mind about it all. Some of it I found intriguing, some I was a little doubtful about."[8] When the producers confirmed that they were going to film Harris' novel, Hopkins told them yes, but added: "It needs some condensing."[8] The Hollywood Reporter confirmed that Hopkins had agreed to reprise his role in late December 1999, saying he had approved the latest draft of the script.[27]
Hopkins said he had no difficulty moving back into "Lecter's mind". "I just learned the lines and showed up and walked around as Hannibal Lecter. I thought, 'Do I repeat that same performance, or do I vary it?' Ten years had passed so I changed a bit."[9] In the book, Lecter uses bandages to disguise himself as a plastic surgery patient. This was left out of the film because Scott and Hopkins agreed to leave the face alone.[28] Hopkins said: "It's as if he's making a statement—'catch me if you can'. With his big hat, he's so obvious that nobody thinks he's Hannibal Lecter. I've always thought he's a very elegant man, a Renaissance man."[28] In the film, Lecter is first seen in Florence "as the classical Lecter, lecturing and being smooth", according to Hopkins.[29] When the film moves to the US, Hopkins changed his appearance by building up muscle and cropping his hair short "to make him like a mercenary, that he would be so fit and so strong that he could just snap somebody in two if they got ... in his way".[29]
Gary Oldman as Mason Verger
[edit]
The part of Mason Verger, one of Lecter's two surviving victims, was originally offered to Christopher Reeve based on his work as a police officer who uses a wheelchair in Above Suspicion (1995). Not having read the novel, Reeve showed initial interest in the role, but ultimately declined upon realizing that Verger was a quadriplegic, facially-disfigured child rapist.[30][31] The part was later accepted by secondary choice Gary Oldman. Co-producer Martha De Laurentiis claimed they had a "funny situation" with Oldman wanting a prominent "credit". She said: "Now how can you have a prominent credit with Hannibal? The characters are Hannibal and Clarice Starling. So we really couldn't work something out (at first)." Oldman was apparently "out" of the film for a while, but then came back in, asking to go "unbilled". Oldman would become transformed and "unrecognizable as himself" to play the part of Verger. He would have no lips, cheeks or eyelids. Make-up artist Greg Cannom said: "It's really disgusting ... I've been showing people pictures [of Oldman as Verger], and they all just say 'Oh my God,' and walk away, which makes me very happy."[9] Oldman said that having his name completely removed from the billing and credits allowed him to "do it anonymously" under the heavy make-up.[32]
Further casting
[edit]
Other stars subsequently cast included Ray Liotta as U.S. Justice Department official Paul Krendler (the character had appeared in The Silence of the Lambs, but original actor Ron Vawter had died in the interim) and Italian actor Giancarlo Giannini as Detective Rinaldo Pazzi. Francesca Neri played Pazzi's wife, Allegra. Frankie Faison reprised his role as orderly Barney Matthews, remaining the only actor to play a role in all Lecter feature films (until Hannibal Rising in 2007), including Manhunter.
Key production crew
[edit]
Scott recruited the key production crew whom he had worked with previously. Production designer Norris Spencer had worked on Thelma & Louise, Black Rain and 1492: Conquest of Paradise. Cinematographer John Mathieson, editor Pietro Scalia and composer Hans Zimmer had all worked on Scott's previous film Gladiator.[33]
Production
[edit]
Background
[edit]
Hannibal was filmed in 83 working days over 16 weeks.[34] The film began production on 8 May 2000 in Florence, Italy.[34] The film visited key locations in Florence and various locations around the United States.[33] Martha De Laurentiis said the film has almost a hundred locations and that it was a "constant pain of moving and dressing sets. But the locations were beautiful. Who could complain about being allowed to shoot in Palazzo Vecchio in Florence? Or President James Madison's farm in Montpelier or the amazing Biltmore Estate in Asheville?"[33] Eighty million dollars and a year and a half in production were spent before Scott got his first look at Hannibal in the editing room.[35]
Filming locations
[edit]
The whole second act of Hannibal takes place in Florence. Ridley Scott had never filmed there before, but described it as "quite an experience ... It was kind of organized chaos ... We were there at the height of tourist season."[33] Within Florence, the production would visit various locations such as the Palazzo Capponi (as Dr. Fell's workplace), the Ponte Vecchio, the Palazzo Vecchio, the Pharmacy of Santa Maria Novella and the Cathedral.[33]
After leaving Italy on 5 June 2000, the production moved to Washington, D.C. Filming took place over six days at Washington Union Station.[33] The unusual sight of a carousel appeared in the transportation hub and shopping plaza at Ridley Scott's request.[33]
Filming lasted for seven weeks in Richmond, Virginia[33] for the shootout in a crowded fish market (shot at Richmond Farmer's Market) early in the film. Julianne Moore underwent FBI training at the Bureau's headquarters before filming.[33]
A barn in Orange, Virginia, situated on the estate of President James Madison, was used to house 15 "performing hogs".[33] The 15 Russian boars used in the shoot were from a selection of around 6,000 that the animal wranglers observed.[33]
Biltmore Estate in Asheville, North Carolina, the biggest privately owned estate in the US, was chosen to signify the huge personal wealth of Mason Verger.[8]
Special make-up effects
[edit]
Make-up artist Greg Cannom was pleased to be involved in Hannibal as it offered him the chance to produce "incredible and original make-ups".[8] For Mason Verger, the make-up team initially produced 20 different heads which looked like zombies and did not reflect the vision Scott had of the character. Scott wanted Verger to look real with hideous scarring, and not something from the "House of Wax".[8] Scott himself called on the help of expert doctors in an effort to get the look of the character as realistic as possible.[8] Scott showed the make-up team pictures of foetal things, which he thought touching; he wanted to make Mason Verger more touching than monstrous, as he thought of Verger as being someone who hadn't lost his sense of humour, almost sympathetic.[8] Oldman spent six hours a day in make-up to prepare for the role.[8]
For one of the film's final and infamous scenes, an exact duplicate was created of the character Paul Krendler, played by Ray Liotta, a scene which blended make-up, puppet work and CGI in a way which Scott called "seamless".[8]
Title sequence
[edit]
The main titles were designed by Nick Livesey, a graduate of the Royal College of Art who worked for one of Scott's production companies in London. The sequence, shot in Florence by Livesey himself, was intended as the film's second promotional trailer.[8] The studio thought it not "quite right", but it remained on Scott's mind and would eventually end up as the main title sequence.[8] Livesey gathered footage of pigeons in an empty square in Florence early one morning which, in the final cut, would morph into the face of Hannibal Lecter.[8] Scott believed it a good idea, as it fundamentally asked the question: 'Where is Hannibal Lecter?' Scott explains: "And of course this story tells it, with pigeons in the cobblestones of somewhere, where you wonder where that is ... and there he is... his face appears."[8] The titles are said to have been influenced by the film Seven.[36]
Music
[edit]
Ridley Scott worked very closely with composer Hans Zimmer, during post-production on Hannibal.[8] Scott believes the music to a film is as important as dialogue—"It is the final adjustment to the screenplay, being able to also adjust the performance of the actors in fact."[8] Zimmer, and Scott sat in during the editing process with editor Pietro Scalia to discuss scenes in the film and "not music".
The character Mason Verger had his own theme, which become more "perverted" as the film progressed, according to Zimmer.[8] Dante's sonnet was put to music by Patrick Cassidy titled Vide cor Meum for the opera scene in Florence.[37] Tracksounds.com wrote positively of Zimmer's score. "Zimmer truly crafts a score worthy of most fans' full attention ... the classical elements, and yes, even the monologue combine to make this an intense listening experience."[38] In a poll by British Classic FM listeners to find the greatest film soundtrack of all time, Hannibal ranked at No. 59.[39] Strauss's The Blue Danube is also played at several points in the film.
Themes
[edit]
Romance
[edit]
Scott has said he believes the underlying emotion of Hannibal is "affection". "In some instances, you might even wonder or certainly from one direction—is it more than affection? It is dark, because the story is of course essentially dark, but it's kind of romantic at the same time."[8] Scott openly admits to a "romantic thematic" running through the film.[8] He told CNN that: "Hannibal was quite a different target, essentially a study between two individuals. Funny enough, it's rather romantic and also quite humorous, but also there's some quite bad behaviour as well."[12] During the opera scene in Florence, Lecter attends an operatic adaptation of one of Dante's sonnets, and meets with Detective Pazzi and his wife, Allegra. She asks Lecter, "Do you believe a man could become so obsessed by a woman after a single encounter?" Lecter replies: "Yes, I believe he could ... but would she see through the bars of his plight and ache for him?" This scene, in the film, is one which Scott claims most people "missed" the meaning of. It was in reference to Starling—to their encounter in The Silence of the Lambs.[24] The New York Times, in its review of the film, said Hannibal, "toys" with the idea of "love that dare not speak its name".[36]
Composer Hans Zimmer believed there were messages and subtext in each scene.[8] He said, "I can score this movie truly as a Freudian archetypal beauty and the beast fairy tale, as a horror movie, as the most elegant piece, on corruption in the American police force, as the loneliest woman on earth, the beauty in renaissance ..."[8] Zimmer ultimately believes it to be a dark love story, centering on two people who should never be together—a modern-day Romeo and Juliet.[8] During post-production, Scott, Zimmer and the editor passionately argued about the meaning of Starling's tear during a confrontation with Lecter. They could not agree if it was a tear of "anguish", "loneliness" or "disgust".[8] Scott told the New York Post that, the affair of the heart between Lecter and Starling is metaphorical.[40] Rolling Stone magazine said in their review, "Scott offers a sly parody of relationships—think 'When Hannibal met Sally'."[19]
Retribution and punishment
[edit]
Scott has said he believed Lecter, in his own way, was "pure", whose motivation is the search for "retribution and punishment".[24] "There is something very moral about Lecter in this film," said Scott in his audio commentary. "The behaviour of Hannibal is never insane—[I] didn't want to use that excuse. Is he insane? No, I think he's as sane as you or I. He just likes it."[24] Scott did say, however, "In our normal terms, he's truly evil."[24] Scott also brings up the notion of absolution in reference to Lecter towards the film's end.[24] Verger has one overriding objective in life: to capture Lecter and subject him to a slow, painful death.[41]
Corruption
[edit]
Part of the story involves the character Rinaldo Pazzi (Giancarlo Giannini), a Florentine policeman who learns "Dr. Fell's" true identity and realizes that this knowledge could make him rich. His escalating abandonment of morality allows him to countenance and facilitate the death of a Romani pickpocket, egged on by the desire to have the best for his much younger wife.[24] There is a moment in the film when Pazzi becomes corrupted, despite being what Scott describes as "very thoughtful".[24]
Release
[edit]
Marketing
[edit]
The first trailer appeared in theaters and was made available via the official website in early May 2000, over nine months before the film's release. As the film had only just begun production, footage was used from The Silence of the Lambs. A second trailer, which featured footage from the new film, was released in late November 2000. In marketing the film, Hopkins' portrayal of Hannibal Lecter was chosen as the unique selling point of Hannibal. "Mr Hopkins is the draw here", said Elvis Mitchell in a 2001 The New York Times article.[36] A poster released in the UK to promote Hannibal, featuring Lecter with a "skin mask" covering the right side of his face, was quickly removed from circulation as it was deemed "too shocking and disturbing for the public."[42][better source needed]
Upon its release, Hannibal was met with significant media attention,[37][43] with the film's stars and director making several appearances on television, in newspapers and in magazines.[44] In an article for CBS News, Jill Serjeant stated that "the long-awaited sequel to the grisly 1991 thriller Silence of the Lambs is cooking up the hottest Internet and media buzz since the 1999 Star Wars 'prequel'."[44] Stars Anthony Hopkins and Julianne Moore made the covers of a number of magazines, including Vanity Fair,[45] Entertainment Weekly,[46] Premiere,[43] and Empire.[47]
Distribution
[edit]
Metro-Goldwyn-Mayer distributed the film in the United States and Canada, while Universal Pictures International handled international sales,[2] with United International Pictures handling distribution in most international territories except for Germany, Italy and Japan, which were handled by Tobis StudioCanal, Filmauro and GAGA Communications respectively.[48]
Home media
[edit]
Hannibal was released on VHS and DVD on August 21, 2001,[49] and on Blu-ray on September 15, 2009.[50] A new transfer of the film was released on Blu-ray and Ultra HD Blu-ray by Kino Lorber on May 7, 2019.[51][52]
Reception
[edit]
Box office
[edit]
Hannibal grossed $58 million (U.S.) in its opening weekend from 3,230 screens. At the time, this was the third-biggest debut ever behind 1997's The Lost World: Jurassic Park and 1999's Star Wars: Episode I – The Phantom Menace.[53] It went on to surpass Scream 3 to have the highest debut in February.[53] That record was surpassed by The Passion of the Christ in 2004.[54] The film also had the largest opening weekend for an R-rated film, beating Scary Movie.[55] Hannibal would hold this record until it was taken by The Matrix Reloaded in 2003.[56] Furthermore, it managed to beat out the Special Edition release of Star Wars to have the highest winter opening weekend.[57] Final domestic box office gross (U.S.) reached $165,092,268, with a worldwide gross of $351,692,268.[4] The film spent three weeks at number one in the U.S. box office chart, and four weeks at number one in the UK, and was the year's third highest-grossing film in that country behind Lara Croft: Tomb Raider and Harry Potter and the Philosopher's Stone.[58] In Italy, it grossed $4.6 million in its opening weekend, setting a record for a US release, beating The Blair Witch Project.[59] It also set a record opening week in the Netherlands with $1.3 million in six days, beating Independence Day. It also had the second biggest opening in Spain with $4.1 million in 6 days.[60] Hannibal was the tenth highest-grossing film of the year worldwide.[61] Hannibal also made over $87,000,000 in U.S. video rentals following release in August 2001.[62]
Critical response
[edit]
The reviews for Hannibal were mixed-to-negative.[25][53][63] On Rotten Tomatoes, the film holds an approval rating of 39% based on 172 reviews, with an average rating of 5.1/10. The website's critical consensus reads, "While superbly acted and stylishly filmed, Hannibal lacks the character interaction between the two leads which made the first movie so engrossing."[64] On Metacritic, the film has a rating of 57 out of 100 from 36 reviews.[6] Audiences surveyed by CinemaScore gave the film a grade "C+" on scale of A to F.[65]
Time magazine wrote: "A banquet of creepy, gory or grotesque incidents is on display in Hannibal. But this superior sequel has romance in its dark heart."[citation needed] Empire magazine gave it two out of five stars, calling it "laughable to just plain boring, Hannibal is toothless to the end."[66] David Thomson, writing in the British Film Institute magazine Sight & Sound, praised the film. "It works. It's smart, good-looking, sexy, fun ... dirty, naughty and knowing."[63] Thomson does make clear he is a great fan of director Ridley Scott's work.[63] He adds: "It is, literally, that Hannibal Lecter has become such a household joke that he can't be dreadful again. It seems clear that Anthony Hopkins and Scott saw that, and planned accordingly. That's how the movie was saved."[63] Variety magazine in its review said "Hannibal is not as good as Lambs ... ultimately more shallow and crass at its heart than its predecessor, Hannibal is nevertheless tantalizing, engrossing and occasionally startling."[67]
A negative review in The Guardian claimed that what was wrong with the film was carried over from the book: "The result is an inflated, good-looking bore of a movie. The Silence of the Lambs was a marvelous thing. This, by contrast, is barely okey-dokey."[68] Roger Ebert gave the film 2.5 stars out of 4, and described Hannibal as "a carnival geek show elevated in the direction of art. It never quite gets there, but it tries with every fiber of its craft to redeem its pulp origins, and we must give it credit for the courage of its depravity," and although he was "left with admiration for Scott's craft in pulling [it] off at all, and making it watchable", and praised the Mason Verger character as "a superb joining of skill and diabolical imagination," as well as Hopkins' performance as Lecter, which he described as "fascinating every second he is on the screen," he concluded, "I cannot approve of the movie, not because of its violence, which belongs to the Grand Guignol tradition, but because the underlying story lacks the fascination of Silence of the Lambs."[69]
Differences from the novel
[edit]
According to Variety magazine, the script for Hannibal was: "quite faithful to the Harris blueprint; fans of the tome may regret the perhaps necessary excision of some characters, most notably Mason Verger's muscle-bound macho sister Margot, as well as the considerable fascinating academic detail, but will basically feel the book has been respected (yes, even the climactic dinner party is served up almost intact, with the only surprise twists saved for its wake)."[67] Time Out noted: "The weight-watchers script sensibly dispenses with several characters to serve a brew that's enjoyably spicy but low on substance. So much story is squeezed into 131 minutes that little time's left for analysis or characterization."[70] Producer Dino De Laurentiis was asked why some characters, notably Jack Crawford, were left out of the film: "I think if you get a book which is 600 pages, you have to reduce it to a script of 100 pages. In two hours of film, you cannot possibly include all the characters. We set ourselves a limit, and cut characters which weren't so vital."[71]
In the book, Mason Verger runs an orphanage, from which he calls children to verbally abuse as a substitute for his no longer being able to molest them. He also has a sister, Margot, whom he had raped when they were children and who is a lesbian. When she disclosed her sexual orientation to her family, their father disowned her. As she is sterile due to steroid abuse, Verger exerts some control over her by promising her a semen sample with which to impregnate her lover, who could then inherit the Verger fortune. At the book's end, Margot and Starling both help Lecter escape during a shootout between Starling and Verger's guards. Margot, at Lecter's advice, stimulates her brother to ejaculate with a rectally inserted cattle prod, and then kills him by ramming his pet moray eel down his throat.
The book's controversial ending has Lecter presenting Starling with the exhumed bones of her father, which he "brings to life" by hypnotizing Starling, allowing her to say goodbye. This forges an odd alliance between Starling and Lecter, culminating in their becoming lovers and escaping to Argentina. At the novel's end, Barney sees them at the Teatro Colón of Buenos Aires.
Also gone from the film are the flashbacks to Lecter's childhood, in which he sees his younger sister, Mischa, eaten by German deserters in 1944. These flashbacks formed the basis for the 2007 film Hannibal Rising (written concurrently with the 2006 novel of the same name) which portrays Lecter as a young man.
Hopkins was asked in an interview on the subject of whether or not he believed the idea of Starling and Lecter heading off into the sunset as lovers (as happens in the book). "Yes, I did. Other people found that preposterous. I suppose there's a moral issue there. I think it would have been a very interesting thing though. I think it would have been very interesting had she gone off, because I suspected that there was that romance, attachment there, that obsession with her. I guessed that a long time ago, at the last phone call to Clarice, at the end of SotL, she said, 'Dr. Lecter, Dr. Lecter ... '."[72]
Other media
[edit]
Prequels
[edit]
The film was followed by two films which are prequels based on novels by Thomas Harris (although the novel of Red Dragon isn't itself a prequel as it was written before Hannibal):
Red Dragon (2002)
Hannibal Rising (2007)
In popular culture
[edit]
In 2014, there was a news story from Italy where a gangster fed his rival alive to pigs. Many media stories compared this to a similar scene in Hannibal.[73][citation needed]
Five months after the film's release, the renowned South Park episode Scott Tenorman Must Die featured Eric Cartman attempting to train a pony to bite his titular rival Scott Tenorman, directly citing "the deformed guy" from Hannibal for such a scheme.
See also
[edit]
Film portal
Notes
[edit]
References
[edit]
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https://letterboxd.com/film/hannibal-1959/
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Hannibal (1959)
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A Carthaginian general attempts to cross the Alps with an army of elephants in order to conquer Rome.
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en
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https://letterboxd.com/film/hannibal-1959/
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Victor Mature stars in this decent sword and sandals historical adventure as the titular Carthaginian general who challenged the Roman Empire in its dying days. It was shot in Italy, and while solid the film doesn’t have the scale of its Hollywood-funded competitors, with a much smaller scale in comparison that often leaves key events like battles offscreen.
Instead, a lot of time is taken up by talking instead of action, especially in the rather leaden romance which doesn’t exactly light up the screen. Apparently the filmmakers wanted the film to be more of a character study but were pressured by the studio into making more of a conventional historical film, and there’s definitely a push and pull between these…
Edgar Ulmer, a little later in the career. Even after blacklisted, he still manages to get another big budget picture out with Warner Bros. Just another reason I'm always impressed by not only his output/consistency of work. But in correlation to budgets, He really stretched em and had talent, and I'll appreciate that trait of resourcefulness in filmmaking. Always.
The film itself is a pretty well paced drama, with some war/battles here and there. I was never really bored or uninterested. It's shot well. Massive fields and mountains as your sets and backdrops with thousands of actors for soldiers on foot/on horse, and then the ELEPHANTS 🐘
I COULDNT tell you how accurate this flick is. It's a tad dull…
Hollywood star Victor Mature is the only American actor in this Italian-made epic of ancient Rome, but he is also the worst thing about the film. The Italian actors, led by Gabriele Ferzetti, all give very fine performances, but Mature's clunky delivery renders every scene he's in rather silly. Instead of projecting the gravitas of a Carthaginian military genius, Mature comes across as an aging lounge singer. Otherwise the production is quite impressive. The film opens with some great footage of an army of hundreds marching through beautiful snow-covered alpine scenery. Mature was not present at that shoot, however, so it is intercut with brief shots of Mature on a soundstage surrounded by fake snow. The movie sports some huge…
A fool’s errand in attempting to tell only half the story of Hannibal’s invasion of Italy in the Second Punic War, leaving the narrative only half complete by the time the credits roll, but in spite of all its histrionics and cheesy melodrama Hannibal manages to deliver a decent Sword & Sandal adventure without sacrificing spectacle for the sake of a reasonable runtime. The most famous aspect of the Carthaginian’s campaign across the Alps — the caravan of war elephants he implemented to trample his Roman foes — are a surprisingly prominent feature of the film, far more than one would expect for such a temperamental creature. Throughout the first half of the film there are multiple lengthy battle sequences which…
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https://widener.locate.ebsco.com/instances/24079442-43d3-5540-a36e-0e521b7c9b20%3Foption%3Dauthor%26query%3DGiler%252C%2520David
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EBSCO Locate
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https://widener.locate.ebsco.com/favicon.ico
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https://www.thescriptdepartment.net/post/hannibal-more-important-than-silence-of-the-lambs
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Hannibal: More Important than Silence of the Lambs
|
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"John Finnegan"
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2018-09-25T17:22:36+00:00
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I recently wrote a post arguing how Alien 3, one of the least popular Alien films, is actually the most significant entry as far as progressing the main character of the franchise is concerned. It got me thinking of other examples where less popular or less successful entries into movie franchises can actually be very important, or in some instances, the most important chapter when it comes to discussing or understanding the characters.For this post, I'll be concentrating on Hannibal, the 2001 s
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en
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The Script Dept.
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https://www.thescriptdepartment.net/post/hannibal-more-important-than-silence-of-the-lambs
|
I recently wrote a post arguing how Alien 3, one of the least popular Alien films, is actually the most significant entry as far as progressing the main character of the franchise is concerned. It got me thinking of other examples where less popular or less successful entries into movie franchises can actually be very important, or in some instances, the most important chapter when it comes to discussing or understanding the characters.
For this post, I'll be concentrating on Hannibal, the 2001 sequel to Silence of the Lambs. Hannibal puts a lot more focus on the titular character of Hannibal Lecter than in other films but it still never loses focus of Clarice Starling either. It follows Hannibal as he hides out in Florence, before realising he has been discovered by a corrupt Inspector Di Pazzi. This leads to Clarice Starling, who by now has been ousted from the FBI for, frankly being too good at her job, to pick up the trail of Hannibal and try and bring him in. It is a gripping game of cat and mouse and both characters are challenged in incredibly interesting ways.
The response to Hannibal was lukewarm, but I will argue here that this is the film that elevates the characters of Starling and Lecter to the revered heights that we hold them to now.
Hannibal takes on a very different form than its previous entries in the series. Red Dragon and Silence of the Lambshad a paint by numbers approach to their investigation. They were certainly gripping and thrilling, but they were not unfamiliar to audiences. Hannibal, on the other hand, featured a very different structure and showcased the characters in a different light that was unexpected. This emphasis on the two characters, and not on a different serial killer that they were trying to pursue, meant that it did more for the mythology of these beloved characters than Dragon and Silence.
Let's look at the character of Clarice Starling in Silence of the Lambs. Clarice is a rookie, following the orders of her superiors and learns to overcome the death of her father in her 'therapy' sessions with Hannibal Lector. It is her quick thinking and ingenuity that leads her to Buffalo Bill. In Silence, Clarice is a sheltered character, protected by her superiors, by a wall of glass, separating her from Lecter and all the while following orders.
In Hannibal, Clarice doesn't have those safety nets. She is held fully accountable when things go wrong, even when they are not her fault. She is vilified and has her integrity thrown into question. Despite the fact that she is a seasoned veteran of the Bureau, she is truly challenged, more so than before.
It goes without saying that Hannibal is where we see the character of Lector truly shine. We see him living his day to day life in Florence, we see how he hunts and preys on unsuspecting people. He is methodical and cunning and takes risks by reaching out to Clarice, despite knowing that it could get him caught. We learn more about who he is as a human being than in any other film. For this reason alone, it is an important film.
Clarice might have hit a turning point in her personal life when she opened up about her father in Silence of the Lambs. However, it is the resolution of their therapy sessions at the end of Hannibal that gives us our greatest insight into Clarice. Hannibal is handcuffed to Clarice. Even though his freedom is at risk, Hannibal cannot help but show his admiration for Clarice. He says:
"My freedom, just that. You'd take that from me. And if you did, would they have you back, do you think? The FBI? Those people you despise almost as much as they despise you? Will they give you a medal, Clarice, do you think? Would you have it professionally framed and hang it on your wall to look at and remind you of your courage and incorruptibility? All you would need for that, Clarice, is a mirror."Clarice is incorruptible. She is the perfect agent and his match. Sometimes it takes another character to highlight this before we notice. It is hard not to notice by the end of this film.
Film buffs love to hail Hannibal and Clarice as such well rounded and well written characters but the evidence, like Ellen Ripley in Alien 3, comes from Hannibal, a film that many people tend to ignore when discussing these characters. It has become too easy to lean on quotes and memes from Silence of the Lambs when discussing these characters, but I would prefer to lean on Hannibal to see these characters at their best.
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Lon Chaney Jr.
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Posts about Lon Chaney Jr. written by Toby
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https://s1.wp.com/i/favicon.ico
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The Hannibal 8
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https://thehannibal8.wordpress.com/category/lon-chaney-jr/
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Directed by Roy Del Ruth
Produced by Jack Leewood
Screenplay by Orville H. Hampton
Story by Orville H. Hampton & Charles O’Neal
Director Of Photography: Karl Struss, ASC
Supervising Film Editor: Harry Gerstad
Makeup: Ben Nye & Dick Smith
Music by Irving Gertz
Cast: Beverly Garland (Joyce Webster/Jane Marvin), Bruce Bennett (Dr. Eric Lorimer), Lon Chaney Jr. (Manon), George Macready (Dr. Mark Sinclair), Frieda Inescort (Mrs. Lavinia Hawthorne), Richard Crane (Paul Webster), Douglas Kennedy (Dr. Wayne MacGregor), Dudley Dickerson (Porter), Hal K. Dawson (Conductor), Ruby Goodwin (Louann the Maid), Vince Townsend Jr. (Toby)
As a kid, I’d see stills from The Alligator People (1959) in Famous Monsters or one of my sci-fi and horror film books, and it looked like the Perfect Movie. If only I could see it!
Guess I haven’t developed a whole lot since those Monster Kid days, because now that I’ve seen it (first on the late show and finally on Blu-Ray), I’m still of a mind that The Alligator People comes real close to being the Perfect Movie — in my Hollywood, at least.
On a train on their wedding night, Beverly Garland’s husband (Richard Crane) gets a telegram and splits. Beverly’s search for her man takes her to a plantation in Louisiana, where it turns out Crane has been the subject of George Macready’s medical experiments using reptile hormones to regenerate limbs. Crane had been mangled in a plane crash, and while the gator juice injections were working, something started going wrong — hence the cryptic telegram and the quick exit. Macready found that radiation treatments were looking promising, but would that cure Crane or further his reptilian transformation?
The Alligator People, how do I love thee? Let me count the ways.
It’s in black and white CinemaScope, a glorious aesthetic that can elevate almost any junk to classic status (the key to my love of Lippert’s Regal and API movies).
It mines the tried and true people-turning-into-animals vein, a theme that had been proving itself since Island Of Lost Souls (1932) — and that Lippert had already used successfully with The Fly (1958).
It makes great use of its Southern Gothic plantation setting. As a kid in South Georgia (Thomasville), plantation houses, Spanish moss, even alligators were familiar to me. This made the movie kinda plausible!
It’s got Beverly Garland in it. For me and a lot of other male Monster Kids, she was an early crush. Later, I’d appreciate what a terrific actress she was.
Along with Ms. Garland, there’s a solid cast of real 50s pros — Bruce Bennett, George Macready, Douglas Kennedy. You need guys like that to add credence to all the pseudo-scientific dialogue.
A hook-armed Lon Chaney, Jr. is on hand to add some classic horror credibility to the proceedings, and he’s gleefully over the top.
The alligator people makeup effects are just good enough — and bad enough. That mix is crucial.
But the thing that really makes The Alligator People is that key ingredient found in so many B Movies of the 50s (regardless of the genre) — the combined craft of the people who made them. Sure, it’s hokum, but it’s really well-made hokum.
The talent behind the camera is certainly impressive. This was director Roy Del Ruth’s next-to-last film. Oscar-winner Karl Struss’s cinematography is gorgeous. He was one of the DPs on Gone With The Wind (1939), and he shot a number of the Regal and API pictures. Ben Nye and Dick Smith handled the makeup; Nye had worked on The Fly. The editing is tight, and the art direction looks bigger than the picture’s $300,000 budget would have you expect. (That was really splurging for API.)
What’s more, everyone knew to play it straight (even though Beverly Garland always said the hardest thing about making this movie was keeping a straight face). Horror and science fiction films have to create their own logic, sweep up the audience and keep them so involved they don’t have a chance to realize how ridiculous it all is. The Alligator People does this very well.
The Alligator People was released in July of 1959, paired with another “Terror-Topping, Supershock Thrill Sensation,” Edward Bernds’ Return Of The Fly. I can’t imagine a cooler night at the movies.
With movies like this, the major studios tried to compete with what Roger Corman, AIP and Allied Artists were offering to the lucrative teenager audience. 20th Century-Fox was smart to put Lippert and his gang in charge of films like this, with Fox’s major-studio facilities (and ‘Scope lenses) adding production values the independents could only dream of. (The cheaper ones were shot on independent lots around Hollywood.)
In that way, The Alligator People is the best of both worlds — and, yep, a pretty Perfect Movie.
I’m really excited about this one, as Shout Factory’s Universal Horror Blu-Ray series moves into the 50s. This is announced for release on August 25.
The Black Castle (1952)
Directed by Nathan H. Juran
Starring Richard Greene, Boris Karloff, Stephen McNally, Rita Corday, Lon Chaney, Jr., John Hoyt, Michael Pate
You could say this was the last of the true Universal-type horror movies, with all the trapping and a few of the actors we associate with such things. It was Nathan Juran’s first time as director. He was on the film as art director, but was moved into the director’s chair when Joseph Pevney walked.
Cult Of The Cobra (1955)
Directed by Francis D. Lyon
Starring Faith Domergue, Richard Long, Kathleen Hughes, Marshall Thompson, Jack Kelly, William Reynolds, David Janssen
This story of a cult of snake worshippers, a deadly curse and the beautiful, deadly snake goddess (Faith Domergue) making their way to New York went out as the second feature behind Revenge Of The Creature (1955).
The Thing That Couldn’t Die (1958)
Directed by Will Cowan
Starring William Reynolds, Andra Martin, Jeffrey Stone, Carolyn Kearney
Running just 69 minutes, shot by the great Russell Metty and with terrific poster art from Reynold Brown (up top), this played with Hamer’s Horror Of Dracula (1958) in the States. It’s about a telepathic head that’s discovered in a box at a dude ranch.
The Shadow Of The Cat (1961)
Directed by John Gilling
Starring André Morell, Barbara Shelley, William Lucas, Fred Jackson
A cat witnesses a murder, then helps both solve it and bring the culprits to their just rewards. Shot in black & white by Hammer’s ace cameraman Arthur Grant.
Scream Factory has come up with some real gold in this one, and it’s good to see these more obscure Universal horror pictures get a chance to shine. They’ll be seen in their original widescreen aspect ratio, with the exception of The Black Castle, which predates the shift to widescreen. Highly recommended.
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Hannibal - Movie Reviews
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Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. The definitive site for Reviews, Trailers, Showtimes, and Tickets
|
en
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https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
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https://www.rottentomatoes.com/m/1104385-hannibal/reviews
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All of this opulence, together with extravagant set-pieces that go past grisly to grotesque (and then, in the climax, on to goony), can't compensate for the halting pace of a patchy script.
Full Review | Jul 15, 2023
Hopkins turns up the hamminess, as though his entire performance is rooted in the same instinct that inspired him to slither after his famous Chianti speech.
Full Review | Original Score: 2/4 | Feb 17, 2022
Scott does justice to The Silence of the Lambs and the character of Hannibal in general, even without a few key pieces, and despite toning Harris's novel down plenty.
Full Review | Original Score: 4/5 | May 6, 2019
Part of the appeal of the Hannibal Lecter novels and films is the complexity of the principal character, who is at once a reprehensible murderer and a moral force for justice.
Full Review | Original Score: 6/10 | May 6, 2019
Hannibal doesn't seem to be about anything but its own swank decadence. Hopkins, with his reedy voice and effete airs, is still quite delicious in the part that won him an Oscar. But 10 years later, Lecter has become more camp than terrifying.
Full Review | Mar 6, 2018
The story line of Hannibal is far less interesting than Silence of the Lambs and lacks the emotional subtlety of its predecessor. However, Hannibal is visually and aurally sumptuous, powered by Hans Zimmer's lovely score and brimming with flashy imagery.
Full Review | Jan 18, 2018
The near-impossible taks and insurmountable problems have been handled by Scott in a proficient if unexciting way. Aware that he can't possibly meet viewers' expectations, Scott has made a different film, more florid, baroque, and tongue-in-cheek.
Full Review | Original Score: B- | Oct 10, 2006
There are moments of a good movie buried amongst this over the top thriller. But these moments are all too rare.
Full Review | Original Score: 1/4 | Sep 30, 2005
Where the book kept you wondering and marvelling at the intricacies of the human mind and heart, the film has a sour, smart-alecky conclusion which highlights (what else?) the gore.
Full Review | Original Score: 2.5/4 | May 20, 2003
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https://thedailyrecord.com/2002/04/04/hannibal-lecter-returns-to-maryland/
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Hannibal Lecter returns to Maryland
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2002-04-04T00:00:00
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<TAB>The Baltimore connection to Thomas Harris
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Maryland Daily Record
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https://thedailyrecord.com/2002/04/04/hannibal-lecter-returns-to-maryland/
|
The Baltimore connection to Thomas Harris’ “Silence of the Lambs” series is being reprised as film crews have descended upon the region to shoot portions of the screen adaptation of Harris’ 1981 novel. “Red Dragon.”
LECTER: FILMING IN MD.
Filming for the movie, which depicts events that preceded those chronicled in the author’s later novels, “The Silence of the Lambs” (1988) and “Hannibal” (1999), began in Los Angeles on Jan. 7, with local filming beginning earlier this week, according to Guy Adan, publicist for the new movie. Universal Pictures is the distributor for “Red Dragon” and it’s being produced by Dino De Laurentis, Martha De Laurentis and Ridley Scott — the team that also brought “Hannibal” to the screen.Avid moviegoers will remember that Hannibal Lecter, the central character in the other two movies, is a Baltimore psychiatrist who goes on a gruesome killing spree and is consigned to a local ward for the criminally insane.While only about one-sixth of the movie will be shot in Maryland, local film industry experts say having a film of this caliber has the potential to raise the state’s profile as a film location and to generate significant economic impact.“From an economic standpoint, it’s terrific,” said Jed Dietz, head of the Maryland Film Festival and president of the Producers Club of Maryland. “They come in and use local vendors and hire a local crew and pay fees for various sites.“In addition to that, if the movie goes on to be a hit, everybody who has been involved and all of the pictures taken in that area will be sent around the world over and over again over the years,” Dietz added. “It’s a real win to have it here.”Karen Glenn, a spokeswoman for the Maryland Film Commission — part of the Maryland Department of Business and Economic Development — could not put a price tag on how much the film is expected to generate for the local film industry, but said the impact could be significant, depending on how long the crews remain in the state. At this point, she said, the crews are expecting to shoot at various state locations for three weeks to one month.“It’s a great thing for us,” said Glenn. “We always encourage this type of production.”According to Adan, the film crews will be shooting around Cockeysville and in Carroll County, but he declined to reveal specific locations. Maryland has begun to emerge as a destination for a variety of different films, according to Dietz. Last year, film production in Maryland generated more than $75 million in revenue.“In part, it’s because we’ve worked so hard,” Dietz said. “The basics are all here. We have a wonderful crew base and a great visual array in a very concentrated space.“Also, the Maryland Film Office, which really is the one to get these films, has recently been funded at a level where they could go out and pitch and, lo and behold, it has worked,” Dietz added.Jack Gerbes, head of the Maryland Film Commission, could not be reached for comment yesterday. Anthony Hopkins will once again star as Hannibal Lecter. He will be joined by Edward Norton, Ralph Fiennes and Harvey Keitel. Ted Tally, who won an Oscar for his screenplay for “The Silence of the Lambs,” has adapted the earlier novel for movie audiences with Brett Ratner directing the film.
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https://en.wikipedia.org/wiki/Hannibal_(2001_film)
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Hannibal (2001 film)
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https://en.wikipedia.org/wiki/Hannibal_(2001_film)
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2001 film by Ridley Scott
HannibalDirected byRidley ScottScreenplay byBased onHannibal
by Thomas HarrisProduced byStarringCinematographyJohn MathiesonEdited byPietro ScaliaMusic byHans Zimmer
Production
companies
Distributed by
Metro-Goldwyn-Mayer (through MGM Distribution Co.; United States and Canada[1])
Universal Pictures (International)[2]
Release date
Running time
131 minutes[3]Countries
United States[1]
United Kingdom
LanguageEnglishBudget$87 million[4]Box office$351.6 million[4]
Hannibal is a 2001 American psychological horror crime thriller film directed by Ridley Scott and based on the 1999 novel by Thomas Harris. A sequel to the 1991 film The Silence of the Lambs, the plot follows disgraced FBI special agent Clarice Starling as she attempts to apprehend cannibalistic serial killer Hannibal Lecter before his surviving victim, Mason Verger, captures him. Anthony Hopkins reprises his role as Lecter, while Julianne Moore replaces Jodie Foster as Starling and Gary Oldman plays Verger. Ray Liotta, Frankie R. Faison, Giancarlo Giannini, and Francesca Neri also star.
Harris published Hannibal eleven years after the publication of The Silence of the Lambs (1988). Scott became attached while directing Gladiator (2000), and signed on after reading the script pitched by Dino De Laurentiis, who had produced Manhunter (1986), the first Lecter film. David Mamet and Steven Zaillian wrote the screenplay, and principal photography commenced in May 2000, lasting sixteen weeks.
Hannibal was released on 9 February 2001, ten years after The Silence of the Lambs. It was highly anticipated and broke box office records in the United States, Australia, Canada and the United Kingdom,[5] and grossed $351.6 million during its theatrical run, but received mixed-to-negative reviews;[6] critics praised the performances and visuals, but deemed it inferior to The Silence of the Lambs and criticized its violence. It was followed by a prequel, Red Dragon, in 2002, with Hopkins reprising his role as Lecter and Brett Ratner taking over as director.
Plot
[edit]
A decade after tracking down serial killer Jame Gumb,[a] FBI Special Agent Clarice Starling is blamed for a botched drug raid that resulted in the deaths of five people. Starling is contacted by Mason Verger, the only surviving victim of cannibalistic serial killer Hannibal Lecter, who has been missing since escaping custody. A wealthy child molester, Verger was paralyzed and disfigured by Lecter and has been pursuing an elaborate scheme to capture, torture, and kill Lecter ever since. Using his wealth and political influence, Verger has Starling reassigned to Lecter's case, hoping her involvement will draw Lecter out.
After learning of Starling's disgrace, Lecter sends her a letter. A perfume expert identifies the fragrance on the letter: skin cream with ingredients only available to a few shops in the world. In Florence, Chief Inspector Rinaldo Pazzi questions Lecter about a case. Lecter is now masquerading as Dr. Fell, a library assistant curator and caretaker.
Recognizing Lecter from the police surveillance tape Starling requested, Pazzi learns of Verger's $3 million personal bounty on Lecter. Seeking the money, he attempts to capture Lecter alone. Lecter severs the femoral artery of the pickpocket Pazzi recruited, then baits Pazzi into a room of the Palazzo Vecchio, disembowels him, and hangs him from the balcony. He also kills a Verger henchman.
Verger bribes Justice Department official Paul Krendler to accuse Starling of not disclosing a note from Lecter, leading to her suspension. Lecter gets Starling to come to Washington Union Station while speaking with her through mobile phones. Verger's men, having trailed Starling, capture and bring Lecter to Verger. Verger intends to feed Lecter alive to a herd of giant forest hogs bred for this purpose. Starling infiltrates Verger's estate and frees Lecter but is shot by a guard. The boars devour the two guards but ignore Lecter. Verger orders his physician Cordell Doemling to shoot Lecter, but Doemling shoves his hated boss into the pen instead as Lecter offers to take the blame. Lecter then carries an unconscious Starling away while Verger is eaten alive by his own boars.
Lecter treats Starling's wound at Krendler's secluded lake house before drugging Krendler. Starling, disoriented by morphine and wearing a cocktail dress Lecter put on her, awakens to find Krendler seated at the table for an elegant dinner. She watches in horror as Lecter opens Krendler's skull, removes part of his brain, sautés it, and feeds Krendler's own brain to him. Starling tries to attack Lecter, but he overpowers and kisses her. She uses the distraction to handcuff his wrist to hers. Hearing the police, Lecter raises a cleaver over her hand. After, Starling surrenders to the FBI with both her hands intact.
On a flight, Lecter, his arm bandaged in a sling, shares Krendler's cooked brain with a curious boy watching him eat, saying it is important to "try new things.”
Cast
[edit]
Development
[edit]
The Silence of the Lambs, based on the 1988 novel by Thomas Harris, was released in 1991 to critical and commercial success, winning five Academy Awards.[7] Harris spent several years writing a sequel novel; Silence of the Lambs director Jonathan Demme expressed interest in developing a film adaptation when the novel was complete.[8]
The film rights to the Lecter character were owned by producer couple Dino De Laurentiis and Martha De Laurentiis. After producing the first Lecter film, Manhunter, in 1986, they allowed Orion Pictures to produce The Silence of the Lambs free without their involvement. When The Silence of the Lambs became a success, the couple became eager for a new Lecter novel they could adapt. After a lengthy wait, De Laurentiis received a call from Harris telling him he had finished the novel and De Laurentiis purchased the rights for a record $10 million.[9]
In April 1999, the Los Angeles Times reported that the budget for an adaptation of Hannibal could cost as much as $100 million. It speculated that both Jodie Foster and Anthony Hopkins would receive $15 million each to reprise their roles and that Demme would receive $5 million to $19 million. Mort Janklow, Harris's agent at the time, told the Los Angeles Times that Foster, Hopkins, and Demme would soon receive manuscripts of the novel, claiming it would make an unbelievable film.[10] The novel sold out of its initial 1.6 million print run in 1999,[11] and went on to sell millions of copies.[12]
Demme declined the invitation to direct,[8] as he reportedly found the material lurid[13] and too gory.[14] In the 2010 Biography Channel documentary Inside Story: The Silence of the Lambs, Demme said: "Tom Harris, as unpredictable as ever, took Clarice and Dr. Lecter's relationship in a direction that just didn't compute for me. And Clarice is drugged up, and she's eating brains with him, and I just thought, 'I can't do this.'"[15] De Laurentiis said of Demme's decision to decline: "When the pope dies, we create a new pope. Good luck to Jonathan Demme. Good-bye."[9] He later said that Demme felt he could not make a sequel as good as The Silence of the Lambs.[16]
Ridley Scott
[edit]
De Laurentiis visited Ridley Scott on the set of Gladiator and suggested he direct Hannibal.[16] Scott, who was conducting principal photography on Gladiator, thought De Laurentiis was speaking about the Carthaginian general and replied: "Dino, I'm doing a Roman epic right now. I don't wanna do elephants coming over the Alps next, old boy."[8]
Scott read the manuscript in four sittings within a week, seeing it as a "symphony", and expressed his desire to direct.[8] He said: "I haven't read anything so fast since The Godfather. It was so rich in all kinds of ways."[11] Scott had reservations with the ending of the novel, in which Lecter and Starling become lovers: "I couldn't take that quantum leap emotionally on behalf of Starling. Certainly, on behalf of Hannibal—I'm sure that's been in the back of his mind for a number of years. But for Starling, no. I think one of the attractions about Starling to Hannibal is what a straight arrow she is."[11] He also did not find the book believable after the opera scene, "which became like a vampire movie". Harris gave Scott permission to change the ending.[11]
Writing
[edit]
Ted Tally, screenwriter for The Silence of the Lambs, was another key member of the Silence of the Lambs team to decline involvement. Tally, like Demme, had problems with the novel's "excesses".[13] David Mamet was the first screenwriter to produce a draft, which, according to Scott and the producers, needed major revisions.[9] Stacey Snider, co-chairman of Universal Pictures, said: "There's no way David was going to read 15 pages of our notes and then be available to work on the script day-to-day."[17] A script review at ScreenwritersUtopia.com describes the Mamet draft as "stunningly bad" but found Zaillian's rewrite "gripping entertainment".[18] Scott praised Mamet as fast and efficient, but said he passed on his draft because it needed work and he feared Mamet, who was soon directing his own film,[9] would be too busy to redraft it.[11]
Steven Zaillian, writer of Schindler's List, initially declined to write Hannibal, saying he was busy and that "you can almost never win when you do a sequel".[9] He changed his mind, as "it's hard to say no to Dino once and it's almost impossible to say no to him twice".[9] Scott said there were "very few rewrites once I brought in Steve Zaillian ... If you were to ask who were the best three screenwriters in the business, Steve Zaillian would be one of them. We discussed Hannibal endlessly."[11] One of Zaillian's key objectives was to revise Mamet's script until it pleased all parties, meaning that the "love story" would be told by suggestion instead of by "assault".[19] Scott worked through the script with Zaillian for 28 days, making him "sweat through it with him and discuss every inch of the way with him". After 25 days, Scott realized that Zaillian was "exorcising the 600 pages of the book. He was distilling through discussion what he was gonna finally do ... Frankly I could have just made it."[8]
Casting
[edit]
It was unclear if Jodie Foster (Clarice Starling) and Anthony Hopkins (Hannibal Lecter) would reprise their respective roles for which they won Academy Awards in The Silence of the Lambs (Best Actress/Best Actor). Both Hopkins and Foster had expressed interest.[10] It became apparent that the producers and the studio could do without one of the original "stars" and would go on to find a replacement. The withdrawal of both Foster and Hopkins could possibly have been terminal for the project, however. De Laurentiis confirmed this after the film's release: "First and foremost, I knew we had no movie without Anthony Hopkins."[16]
Involvement of Jodie Foster
[edit]
Foster told Larry King in 1997 that she "would definitely be part of" a sequel to The Silence of the Lambs.[11] In the same year, she told Entertainment Weekly: "Anthony Hopkins always talks about it. I mean, everybody wants to do it. Every time I see him, it's like: 'When is it going to happen? When is it going to happen?'"[20] De Laurentiis thought Foster would decline once she read the book, and believed the final film was better for it.[8] Hopkins also had doubts Foster would be involved, saying he had a "hunch" she would not be.[8]
Foster confirmed that she had turned down the film in December 1999.[21] This caused problems for Universal and production partner Metro-Goldwyn-Mayer.[9][20] "The studio is just back from the holiday and is regrouping based on the news, and has no cohesive game plan at the moment," said Kevin Misher, Universal's President of Production.[9] Misher added that, "It was one of those moments when you sit down and think, 'Can Clarice be looked upon as James Bond for instance? A character who is replaceable?' Or was Jodie Foster Clarice Starling, and the audience will not accept anyone else?"[9] Foster said in December 1999 that the characterization of Starling in Hannibal had "negative attributes" and "betrayed" the original character.[21]
Foster's spokeswoman said she declined because Claire Danes had become available for Foster's film Flora Plum.[22] Entertainment Weekly described the Hannibal project as having become "a bloody mess, hemorrhaging talent and money" despite Hopkins being on board.[20] In 2005, after the film had been released, Foster told Total Film: "The official reason I didn't do Hannibal is I was doing another movie, Flora Plum. So I get to say, in a nice dignified way, that I wasn't available when that movie was being shot ... Clarice meant so much to Jonathan and I, she really did, and I know it sounds kind of strange to say but there was no way that either of us could really trample on her."[23]
Julianne Moore as Clarice Starling
[edit]
When it became clear that Foster would skip Hannibal, the production team considered several different actresses,[8] including Cate Blanchett, Angelina Jolie, Gillian Anderson, Hilary Swank, Ashley Judd, Helen Hunt and Julianne Moore.[9] Hopkins asked his agent if he had any "power" over casting. He informed De Laurentiis that he knew Moore, with whom he had worked on Surviving Picasso, and thought her a "terrific actress".[8] Although Hopkins' agent told him he had no contractual influence on casting, Scott thought it correct to discuss who would be Hopkins' "leading lady".[8] Scott said he was "really surprised to find that [he] had five of the top actresses in Hollywood wanting it."[11]
Scott said his decision was swayed in favor of Moore: "She is a true chameleon. She can be a lunatic in Magnolia, a vamp in An Ideal Husband, a porn star in Boogie Nights and a romantic in The End of the Affair."[11] "Julianne Moore, once Jodie decided to pass, was always top of my list," said Scott on his female lead.[24] Moore talked about stepping into a role made famous by another actress: "The new Clarice would be very different. Of course people are going to compare my interpretation with that of Jodie Foster's ... but this film is going to be very different."[25]
Anthony Hopkins as Hannibal Lecter
[edit]
Hopkins was generally expected to reprise his Academy Award-winning role. Hopkins said in June 1999 that he would only be interested if the script was "really good".[citation needed][26][better source needed] Hopkins said he could not make up his mind to commit: "I was kind of surprised by this book, Hannibal. I thought it was really overreaching and so bizarre. So I couldn't make up my mind about it all. Some of it I found intriguing, some I was a little doubtful about."[8] When the producers confirmed that they were going to film Harris' novel, Hopkins told them yes, but added: "It needs some condensing."[8] The Hollywood Reporter confirmed that Hopkins had agreed to reprise his role in late December 1999, saying he had approved the latest draft of the script.[27]
Hopkins said he had no difficulty moving back into "Lecter's mind". "I just learned the lines and showed up and walked around as Hannibal Lecter. I thought, 'Do I repeat that same performance, or do I vary it?' Ten years had passed so I changed a bit."[9] In the book, Lecter uses bandages to disguise himself as a plastic surgery patient. This was left out of the film because Scott and Hopkins agreed to leave the face alone.[28] Hopkins said: "It's as if he's making a statement—'catch me if you can'. With his big hat, he's so obvious that nobody thinks he's Hannibal Lecter. I've always thought he's a very elegant man, a Renaissance man."[28] In the film, Lecter is first seen in Florence "as the classical Lecter, lecturing and being smooth", according to Hopkins.[29] When the film moves to the US, Hopkins changed his appearance by building up muscle and cropping his hair short "to make him like a mercenary, that he would be so fit and so strong that he could just snap somebody in two if they got ... in his way".[29]
Gary Oldman as Mason Verger
[edit]
The part of Mason Verger, one of Lecter's two surviving victims, was originally offered to Christopher Reeve based on his work as a police officer who uses a wheelchair in Above Suspicion (1995). Not having read the novel, Reeve showed initial interest in the role, but ultimately declined upon realizing that Verger was a quadriplegic, facially-disfigured child rapist.[30][31] The part was later accepted by secondary choice Gary Oldman. Co-producer Martha De Laurentiis claimed they had a "funny situation" with Oldman wanting a prominent "credit". She said: "Now how can you have a prominent credit with Hannibal? The characters are Hannibal and Clarice Starling. So we really couldn't work something out (at first)." Oldman was apparently "out" of the film for a while, but then came back in, asking to go "unbilled". Oldman would become transformed and "unrecognizable as himself" to play the part of Verger. He would have no lips, cheeks or eyelids. Make-up artist Greg Cannom said: "It's really disgusting ... I've been showing people pictures [of Oldman as Verger], and they all just say 'Oh my God,' and walk away, which makes me very happy."[9] Oldman said that having his name completely removed from the billing and credits allowed him to "do it anonymously" under the heavy make-up.[32]
Further casting
[edit]
Other stars subsequently cast included Ray Liotta as U.S. Justice Department official Paul Krendler (the character had appeared in The Silence of the Lambs, but original actor Ron Vawter had died in the interim) and Italian actor Giancarlo Giannini as Detective Rinaldo Pazzi. Francesca Neri played Pazzi's wife, Allegra. Frankie Faison reprised his role as orderly Barney Matthews, remaining the only actor to play a role in all Lecter feature films (until Hannibal Rising in 2007), including Manhunter.
Key production crew
[edit]
Scott recruited the key production crew whom he had worked with previously. Production designer Norris Spencer had worked on Thelma & Louise, Black Rain and 1492: Conquest of Paradise. Cinematographer John Mathieson, editor Pietro Scalia and composer Hans Zimmer had all worked on Scott's previous film Gladiator.[33]
Production
[edit]
Background
[edit]
Hannibal was filmed in 83 working days over 16 weeks.[34] The film began production on 8 May 2000 in Florence, Italy.[34] The film visited key locations in Florence and various locations around the United States.[33] Martha De Laurentiis said the film has almost a hundred locations and that it was a "constant pain of moving and dressing sets. But the locations were beautiful. Who could complain about being allowed to shoot in Palazzo Vecchio in Florence? Or President James Madison's farm in Montpelier or the amazing Biltmore Estate in Asheville?"[33] Eighty million dollars and a year and a half in production were spent before Scott got his first look at Hannibal in the editing room.[35]
Filming locations
[edit]
The whole second act of Hannibal takes place in Florence. Ridley Scott had never filmed there before, but described it as "quite an experience ... It was kind of organized chaos ... We were there at the height of tourist season."[33] Within Florence, the production would visit various locations such as the Palazzo Capponi (as Dr. Fell's workplace), the Ponte Vecchio, the Palazzo Vecchio, the Pharmacy of Santa Maria Novella and the Cathedral.[33]
After leaving Italy on 5 June 2000, the production moved to Washington, D.C. Filming took place over six days at Washington Union Station.[33] The unusual sight of a carousel appeared in the transportation hub and shopping plaza at Ridley Scott's request.[33]
Filming lasted for seven weeks in Richmond, Virginia[33] for the shootout in a crowded fish market (shot at Richmond Farmer's Market) early in the film. Julianne Moore underwent FBI training at the Bureau's headquarters before filming.[33]
A barn in Orange, Virginia, situated on the estate of President James Madison, was used to house 15 "performing hogs".[33] The 15 Russian boars used in the shoot were from a selection of around 6,000 that the animal wranglers observed.[33]
Biltmore Estate in Asheville, North Carolina, the biggest privately owned estate in the US, was chosen to signify the huge personal wealth of Mason Verger.[8]
Special make-up effects
[edit]
Make-up artist Greg Cannom was pleased to be involved in Hannibal as it offered him the chance to produce "incredible and original make-ups".[8] For Mason Verger, the make-up team initially produced 20 different heads which looked like zombies and did not reflect the vision Scott had of the character. Scott wanted Verger to look real with hideous scarring, and not something from the "House of Wax".[8] Scott himself called on the help of expert doctors in an effort to get the look of the character as realistic as possible.[8] Scott showed the make-up team pictures of foetal things, which he thought touching; he wanted to make Mason Verger more touching than monstrous, as he thought of Verger as being someone who hadn't lost his sense of humour, almost sympathetic.[8] Oldman spent six hours a day in make-up to prepare for the role.[8]
For one of the film's final and infamous scenes, an exact duplicate was created of the character Paul Krendler, played by Ray Liotta, a scene which blended make-up, puppet work and CGI in a way which Scott called "seamless".[8]
Title sequence
[edit]
The main titles were designed by Nick Livesey, a graduate of the Royal College of Art who worked for one of Scott's production companies in London. The sequence, shot in Florence by Livesey himself, was intended as the film's second promotional trailer.[8] The studio thought it not "quite right", but it remained on Scott's mind and would eventually end up as the main title sequence.[8] Livesey gathered footage of pigeons in an empty square in Florence early one morning which, in the final cut, would morph into the face of Hannibal Lecter.[8] Scott believed it a good idea, as it fundamentally asked the question: 'Where is Hannibal Lecter?' Scott explains: "And of course this story tells it, with pigeons in the cobblestones of somewhere, where you wonder where that is ... and there he is... his face appears."[8] The titles are said to have been influenced by the film Seven.[36]
Music
[edit]
Ridley Scott worked very closely with composer Hans Zimmer, during post-production on Hannibal.[8] Scott believes the music to a film is as important as dialogue—"It is the final adjustment to the screenplay, being able to also adjust the performance of the actors in fact."[8] Zimmer, and Scott sat in during the editing process with editor Pietro Scalia to discuss scenes in the film and "not music".
The character Mason Verger had his own theme, which become more "perverted" as the film progressed, according to Zimmer.[8] Dante's sonnet was put to music by Patrick Cassidy titled Vide cor Meum for the opera scene in Florence.[37] Tracksounds.com wrote positively of Zimmer's score. "Zimmer truly crafts a score worthy of most fans' full attention ... the classical elements, and yes, even the monologue combine to make this an intense listening experience."[38] In a poll by British Classic FM listeners to find the greatest film soundtrack of all time, Hannibal ranked at No. 59.[39] Strauss's The Blue Danube is also played at several points in the film.
Themes
[edit]
Romance
[edit]
Scott has said he believes the underlying emotion of Hannibal is "affection". "In some instances, you might even wonder or certainly from one direction—is it more than affection? It is dark, because the story is of course essentially dark, but it's kind of romantic at the same time."[8] Scott openly admits to a "romantic thematic" running through the film.[8] He told CNN that: "Hannibal was quite a different target, essentially a study between two individuals. Funny enough, it's rather romantic and also quite humorous, but also there's some quite bad behaviour as well."[12] During the opera scene in Florence, Lecter attends an operatic adaptation of one of Dante's sonnets, and meets with Detective Pazzi and his wife, Allegra. She asks Lecter, "Do you believe a man could become so obsessed by a woman after a single encounter?" Lecter replies: "Yes, I believe he could ... but would she see through the bars of his plight and ache for him?" This scene, in the film, is one which Scott claims most people "missed" the meaning of. It was in reference to Starling—to their encounter in The Silence of the Lambs.[24] The New York Times, in its review of the film, said Hannibal, "toys" with the idea of "love that dare not speak its name".[36]
Composer Hans Zimmer believed there were messages and subtext in each scene.[8] He said, "I can score this movie truly as a Freudian archetypal beauty and the beast fairy tale, as a horror movie, as the most elegant piece, on corruption in the American police force, as the loneliest woman on earth, the beauty in renaissance ..."[8] Zimmer ultimately believes it to be a dark love story, centering on two people who should never be together—a modern-day Romeo and Juliet.[8] During post-production, Scott, Zimmer and the editor passionately argued about the meaning of Starling's tear during a confrontation with Lecter. They could not agree if it was a tear of "anguish", "loneliness" or "disgust".[8] Scott told the New York Post that, the affair of the heart between Lecter and Starling is metaphorical.[40] Rolling Stone magazine said in their review, "Scott offers a sly parody of relationships—think 'When Hannibal met Sally'."[19]
Retribution and punishment
[edit]
Scott has said he believed Lecter, in his own way, was "pure", whose motivation is the search for "retribution and punishment".[24] "There is something very moral about Lecter in this film," said Scott in his audio commentary. "The behaviour of Hannibal is never insane—[I] didn't want to use that excuse. Is he insane? No, I think he's as sane as you or I. He just likes it."[24] Scott did say, however, "In our normal terms, he's truly evil."[24] Scott also brings up the notion of absolution in reference to Lecter towards the film's end.[24] Verger has one overriding objective in life: to capture Lecter and subject him to a slow, painful death.[41]
Corruption
[edit]
Part of the story involves the character Rinaldo Pazzi (Giancarlo Giannini), a Florentine policeman who learns "Dr. Fell's" true identity and realizes that this knowledge could make him rich. His escalating abandonment of morality allows him to countenance and facilitate the death of a Romani pickpocket, egged on by the desire to have the best for his much younger wife.[24] There is a moment in the film when Pazzi becomes corrupted, despite being what Scott describes as "very thoughtful".[24]
Release
[edit]
Marketing
[edit]
The first trailer appeared in theaters and was made available via the official website in early May 2000, over nine months before the film's release. As the film had only just begun production, footage was used from The Silence of the Lambs. A second trailer, which featured footage from the new film, was released in late November 2000. In marketing the film, Hopkins' portrayal of Hannibal Lecter was chosen as the unique selling point of Hannibal. "Mr Hopkins is the draw here", said Elvis Mitchell in a 2001 The New York Times article.[36] A poster released in the UK to promote Hannibal, featuring Lecter with a "skin mask" covering the right side of his face, was quickly removed from circulation as it was deemed "too shocking and disturbing for the public."[42][better source needed]
Upon its release, Hannibal was met with significant media attention,[37][43] with the film's stars and director making several appearances on television, in newspapers and in magazines.[44] In an article for CBS News, Jill Serjeant stated that "the long-awaited sequel to the grisly 1991 thriller Silence of the Lambs is cooking up the hottest Internet and media buzz since the 1999 Star Wars 'prequel'."[44] Stars Anthony Hopkins and Julianne Moore made the covers of a number of magazines, including Vanity Fair,[45] Entertainment Weekly,[46] Premiere,[43] and Empire.[47]
Distribution
[edit]
Metro-Goldwyn-Mayer distributed the film in the United States and Canada, while Universal Pictures International handled international sales,[2] with United International Pictures handling distribution in most international territories except for Germany, Italy and Japan, which were handled by Tobis StudioCanal, Filmauro and GAGA Communications respectively.[48]
Home media
[edit]
Hannibal was released on VHS and DVD on August 21, 2001,[49] and on Blu-ray on September 15, 2009.[50] A new transfer of the film was released on Blu-ray and Ultra HD Blu-ray by Kino Lorber on May 7, 2019.[51][52]
Reception
[edit]
Box office
[edit]
Hannibal grossed $58 million (U.S.) in its opening weekend from 3,230 screens. At the time, this was the third-biggest debut ever behind 1997's The Lost World: Jurassic Park and 1999's Star Wars: Episode I – The Phantom Menace.[53] It went on to surpass Scream 3 to have the highest debut in February.[53] That record was surpassed by The Passion of the Christ in 2004.[54] The film also had the largest opening weekend for an R-rated film, beating Scary Movie.[55] Hannibal would hold this record until it was taken by The Matrix Reloaded in 2003.[56] Furthermore, it managed to beat out the Special Edition release of Star Wars to have the highest winter opening weekend.[57] Final domestic box office gross (U.S.) reached $165,092,268, with a worldwide gross of $351,692,268.[4] The film spent three weeks at number one in the U.S. box office chart, and four weeks at number one in the UK, and was the year's third highest-grossing film in that country behind Lara Croft: Tomb Raider and Harry Potter and the Philosopher's Stone.[58] In Italy, it grossed $4.6 million in its opening weekend, setting a record for a US release, beating The Blair Witch Project.[59] It also set a record opening week in the Netherlands with $1.3 million in six days, beating Independence Day. It also had the second biggest opening in Spain with $4.1 million in 6 days.[60] Hannibal was the tenth highest-grossing film of the year worldwide.[61] Hannibal also made over $87,000,000 in U.S. video rentals following release in August 2001.[62]
Critical response
[edit]
The reviews for Hannibal were mixed-to-negative.[25][53][63] On Rotten Tomatoes, the film holds an approval rating of 39% based on 172 reviews, with an average rating of 5.1/10. The website's critical consensus reads, "While superbly acted and stylishly filmed, Hannibal lacks the character interaction between the two leads which made the first movie so engrossing."[64] On Metacritic, the film has a rating of 57 out of 100 from 36 reviews.[6] Audiences surveyed by CinemaScore gave the film a grade "C+" on scale of A to F.[65]
Time magazine wrote: "A banquet of creepy, gory or grotesque incidents is on display in Hannibal. But this superior sequel has romance in its dark heart."[citation needed] Empire magazine gave it two out of five stars, calling it "laughable to just plain boring, Hannibal is toothless to the end."[66] David Thomson, writing in the British Film Institute magazine Sight & Sound, praised the film. "It works. It's smart, good-looking, sexy, fun ... dirty, naughty and knowing."[63] Thomson does make clear he is a great fan of director Ridley Scott's work.[63] He adds: "It is, literally, that Hannibal Lecter has become such a household joke that he can't be dreadful again. It seems clear that Anthony Hopkins and Scott saw that, and planned accordingly. That's how the movie was saved."[63] Variety magazine in its review said "Hannibal is not as good as Lambs ... ultimately more shallow and crass at its heart than its predecessor, Hannibal is nevertheless tantalizing, engrossing and occasionally startling."[67]
A negative review in The Guardian claimed that what was wrong with the film was carried over from the book: "The result is an inflated, good-looking bore of a movie. The Silence of the Lambs was a marvelous thing. This, by contrast, is barely okey-dokey."[68] Roger Ebert gave the film 2.5 stars out of 4, and described Hannibal as "a carnival geek show elevated in the direction of art. It never quite gets there, but it tries with every fiber of its craft to redeem its pulp origins, and we must give it credit for the courage of its depravity," and although he was "left with admiration for Scott's craft in pulling [it] off at all, and making it watchable", and praised the Mason Verger character as "a superb joining of skill and diabolical imagination," as well as Hopkins' performance as Lecter, which he described as "fascinating every second he is on the screen," he concluded, "I cannot approve of the movie, not because of its violence, which belongs to the Grand Guignol tradition, but because the underlying story lacks the fascination of Silence of the Lambs."[69]
Differences from the novel
[edit]
According to Variety magazine, the script for Hannibal was: "quite faithful to the Harris blueprint; fans of the tome may regret the perhaps necessary excision of some characters, most notably Mason Verger's muscle-bound macho sister Margot, as well as the considerable fascinating academic detail, but will basically feel the book has been respected (yes, even the climactic dinner party is served up almost intact, with the only surprise twists saved for its wake)."[67] Time Out noted: "The weight-watchers script sensibly dispenses with several characters to serve a brew that's enjoyably spicy but low on substance. So much story is squeezed into 131 minutes that little time's left for analysis or characterization."[70] Producer Dino De Laurentiis was asked why some characters, notably Jack Crawford, were left out of the film: "I think if you get a book which is 600 pages, you have to reduce it to a script of 100 pages. In two hours of film, you cannot possibly include all the characters. We set ourselves a limit, and cut characters which weren't so vital."[71]
In the book, Mason Verger runs an orphanage, from which he calls children to verbally abuse as a substitute for his no longer being able to molest them. He also has a sister, Margot, whom he had raped when they were children and who is a lesbian. When she disclosed her sexual orientation to her family, their father disowned her. As she is sterile due to steroid abuse, Verger exerts some control over her by promising her a semen sample with which to impregnate her lover, who could then inherit the Verger fortune. At the book's end, Margot and Starling both help Lecter escape during a shootout between Starling and Verger's guards. Margot, at Lecter's advice, stimulates her brother to ejaculate with a rectally inserted cattle prod, and then kills him by ramming his pet moray eel down his throat.
The book's controversial ending has Lecter presenting Starling with the exhumed bones of her father, which he "brings to life" by hypnotizing Starling, allowing her to say goodbye. This forges an odd alliance between Starling and Lecter, culminating in their becoming lovers and escaping to Argentina. At the novel's end, Barney sees them at the Teatro Colón of Buenos Aires.
Also gone from the film are the flashbacks to Lecter's childhood, in which he sees his younger sister, Mischa, eaten by German deserters in 1944. These flashbacks formed the basis for the 2007 film Hannibal Rising (written concurrently with the 2006 novel of the same name) which portrays Lecter as a young man.
Hopkins was asked in an interview on the subject of whether or not he believed the idea of Starling and Lecter heading off into the sunset as lovers (as happens in the book). "Yes, I did. Other people found that preposterous. I suppose there's a moral issue there. I think it would have been a very interesting thing though. I think it would have been very interesting had she gone off, because I suspected that there was that romance, attachment there, that obsession with her. I guessed that a long time ago, at the last phone call to Clarice, at the end of SotL, she said, 'Dr. Lecter, Dr. Lecter ... '."[72]
Other media
[edit]
Prequels
[edit]
The film was followed by two films which are prequels based on novels by Thomas Harris (although the novel of Red Dragon isn't itself a prequel as it was written before Hannibal):
Red Dragon (2002)
Hannibal Rising (2007)
In popular culture
[edit]
In 2014, there was a news story from Italy where a gangster fed his rival alive to pigs. Many media stories compared this to a similar scene in Hannibal.[73][citation needed]
Five months after the film's release, the renowned South Park episode Scott Tenorman Must Die featured Eric Cartman attempting to train a pony to bite his titular rival Scott Tenorman, directly citing "the deformed guy" from Hannibal for such a scheme.
See also
[edit]
Film portal
Notes
[edit]
References
[edit]
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https://www.britannica.com/topic/Hannibal-film-by-Scott
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Hannibal | film by Scott [2001]
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Other articles where Hannibal is discussed: Ridley Scott: His next film, Hannibal (2001), was a box-office hit despite poor reviews, and his military drama Black Hawk Down (2001) was nominated for four Academy Awards, including best director.
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/topic/Hannibal-film-by-Scott
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Hannibal
film by Scott [2001]
Learn about this topic in these articles:
Assorted References
discussed in biography
In Ridley Scott
His next film, Hannibal (2001), was a box-office hit despite poor reviews, and his military drama Black Hawk Down (2001) was nominated for four Academy Awards, including best director.
Read More
production by De Laurentiis
In Dino De Laurentiis
…remade as Red Dragon (2002)—Hannibal (2001), and Hannibal Rising (2007).
Read More
role of
Hopkins
In Anthony Hopkins: Hannibal Lecter, Richard M. Nixon, and John Quincy Adams
…portrayal of Hannibal Lecter in Hannibal (2001) and Red Dragon (2002) before leading the cast of a 2003 adaptation of Philip Roth’s novel The Human Stain. In 2005 he starred as a brilliant mathematician afflicted with mental illness in Proof and as a New Zealand motorcycle racer in
Read More
Moore
In Julianne Moore: Rise to stardom
…the Lambs (1991)—in its sequel, Hannibal. Her renderings of women suffocated by the repressive social mores of the 1950s in Haynes’s Far from Heaven (2002) and Stephen Daldry’s The Hours (2002) led to best actress and best supporting actress Oscar nods, respectively.
Read More
Oldman
In Gary Oldman
…Silence of the Lambs sequel Hannibal (2001), he disappeared under layers of prostheses to play Hannibal Lecter’s former patient and nemesis, whom the cannibal induced into cutting off his own face after drugging him.
Read More
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Hannibal (2001)
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After having successfully eluded the authorities for years, Hannibal peacefully lives in Italy in disguise as an art scholar. Trouble strikes again when he's discovered leaving a deserving few dead in the process. He returns to America to make contact with now disgraced Agent Clarice Starling, who is suffering the wrath of a malicious FBI rival as well as the media.
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https://letterboxd.com/film/hannibal/
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"Good evening, Clarice... just like old times"
"Shut up"
me in theory: gay-coding villains is an all too common trope thats damaging to the gay community by repeatedly associating gay people with villainy, corruption, evil, etc.
ray liotta: hannibal lecter seems like a queer HAHAHA AM I RIGHT?
me: YOU'RE RIGHT!!! YOU'RE RIGHT!!
hannibal: dear clarice, I am writing to you because I have finally discovered which wine best pairs with ass. as you kno-
clarice: dear Hannibal, I didn’t even finish reading your letter because it made me wanna rip my eyes out. Thank you, and I hope to arrest you soon.
All I have to say is I laughed really hard for some reason during the scene where Anthony Hopkin's photo was shown right after Osama bin Laden's in the FBI's Top 10 Most Wanted list.
This review may contain spoilers. I can handle the truth.
all the respect in the world to ridley scott for taking this navel-gazing, solemn and grounded true crime saga and transforming it into a neo-gothic eurotrash monster movie where lector just hides in plain sight like he's jason bourne and makes a misogynist FBI agent eat his own brain. alternates equally between symphonic violence and grandiloquent sermonizing, some of it pretty damn stupid but i'm 100% here for it regardless. hannibal is magnificent in its crude operatics and aspirations towards a noble perversity; a film exclusively made by and for the barbarous.
|
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1
| 71
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https://share.wip.oclc.org/oclc/795443578/editions%3FeditionsView%3Dtrue%26fq%3D%26se%3Dyr%26sd%3Ddesc%26referer%3Ddi%26start_edition%3D101
|
en
|
Formats and Editions of Hannibal [WorldCat.org]
|
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[] |
[] |
[
""
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[
"Ridley Scott;",
"Thomas Harris;"
] | null |
en
| null |
Updating results ...
Format
All Formats (219)
Video (22)
DVD (136)
VHS (34)
Bluray (14)
eVideo (7)
Film (3)
Visual material (3)
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https://www.thepopverse.com/hannibal-lecter-watch-how-to-order-silence-of-the-lambs-movies-shows-in-order
|
en
|
Hannibal Lecter franchise in order: How to watch the movies and TV shows
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"https://assets.reedpopcdn.com/0435_popverse-logo.svg"
] |
[] |
[] |
[
""
] | null |
[
"Joshua Lapin-Bertone"
] |
2024-04-24T13:00:00+00:00
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Want to get started on Hannibal’s movies and television shows? Here’s how to do it!
|
en
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/favicon.ico
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Popverse
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https://www.thepopverse.com/hannibal-lecter-watch-how-to-order-silence-of-the-lambs-movies-shows-in-order
|
Are you ready to sink your teeth into some exciting films? Thanks to his pragmatic mind, and his thirst for human flesh, Hannibal Lecter is one of the most terrifying serial killers in cinema. Enter the terrifying world of Hannibal, where the appetite for suspense is matched only by the insatiable hunger for unforgettable storytelling. Based on the exciting novels of Thomas Harris, this gripping franchise has carved its way into the hearts of audiences around the globe.
If you’ve ever wanted to dive into Hannibal’s cinematic saga, but weren’t sure where to start, Popverse has you covered. This guide will tell you everything you need to know about watching Hannibal in release and chronological order. In addition, we’ll also break down the differences between the movies and the television shows, and how they fit in with the overall canon.
How to watch Hannibal Lecter in chronological order
If you’re looking for a complete timeline of Hannibal Lecter’s life, just follow this watch order. This list chronicles the life and crimes of Hannibal Lecter. Consider it a biographical viewing order. Some of the films and television shows take place in separate continuities. When a project is set in another continuity, we’ve noted it here. For a larger breakdown on Hannibal canon, please refer to the continuity section of this guide.
Hannibal’s early years
This covers Hannibal Lecter’s early days as a serial killer. The Hannibal television series is set in a separate continuity. The 1986 Manhunter film is also set in its own universe. The television show, Manhunter, and Red Dragon are placed together on the timeline as they tell different versions of the same story.
Hannibal Rising (2007 film)
Hannibal (3-season television series, 2013-2015)/Red Dragon (2002 film)/Manhunter (1986 film)
Hannibal unleashed
This covers some of Hannibal’s most iconic crimes, as seen in the Anthony Hopkins films. While Hannibal doesn’t appear in the Clarice television series, we are including it here because it’s set in the same universe.
The Silence of the Lambs (1991 film)
Clarice (1 season television series, 2021)
Hannibal (2001 film)
How to watch Hannibal Lecter in release order
If you prefer watching Hannibal in release order, here is how to do it. It should be noted that some of these projects take place in different time periods, but things won’t be confusing. The films and television shows give plenty of context that should clear up any questions over their place in the chronology. For more on chronology, see the previous section of the guide. If there are any questions about continuity and canon, please refer to the continuity section of this guide.
Manhunter (1986 film) (Note: Different continuity)
The Silence of the Lambs (1991 film)
Hannibal (2001 film)
Red Dragon (2002 film)
Hannibal Rising (2007 film)
Hannibal (3 season television series, 2013-2015)
Clarice (1 season television series, 2021)
What’s the best way to watch Hannibal Lecter’s movies and television shows?
It depends on what your tastes are. If you’re a fan of true crime and serialization, I would start with the 2013 Hannibal television series. Since it’s set in its own continuity, it’s a great standalone series which serves as a great introduction to the character. By the end of the third season, you’ll have a pretty good sense of how Hannibal Lecter is, and what makes him tick. From there, you can watch Hannibal Rising and then Red Dragon to see an alternate take on his early years. From there, I would watch everything in release order.
Alternatively, Silence of the Lambs is also a strong way to start. The film is a great introduction to Hannibal Lecter. It’s Anthony Hopkins’ first outing as the character, which earned him an Academy Award for Best Actor. If you’re going to meet Hannibal Lecter for the first time, this is the best way to do it. From there, you can watch the Clarice television series, which takes place shortly after Silence of the Lambs. Although Lecter isn’t in it, it’s a great way to keep up with Clarice Starling. Alternatively, you can skip right to the 2001 film Hannibal, which is set a decade later. If that leaves you wanting more Anthony Hopkins, then you can watch Red Dragon. The only thing left after that is Hannibal Rising and the 2013 television series.
To simplify things, here is a watch order covering both of those lists.
For true crime fans
Hannibal (3 season televisions series, 2013-2015)
Hannibal Rising (2007 film)
Red Dragon (2002 film)
Manhunter (1986 film)
The Silence of the Lambs (1991 film)
Hannibal (2001 film)
Clarice (1 season televisions series, 2021)
Strongest way to start
The Silence of the Lambs (1991 film)
Clarice (1 season televisions series, 2021)
Hannibal (2001 film)
Red Dragon (2002 film)
Hannibal Rising (2007 film)
Hannibal (3 season televisions series, 2013-2015)
Manhunter (1986 film)
Do all the Hannibal Lecter movies and television shows take place in the same continuity?
Some of the Hannibal Lecter movies and television projects take place in different continuities. Consider it a Hannibal Lecter multiverse. The 1986 film Manhunter is an adaptation of the novel Red Dragon, and it features the first onscreen appearance of Hannibal Lecter (spelled Lecktor in the film). The character was played by Brian Cox. Manhunter is set in its own universe and has no connection to any of the Anthony Hopkins films.
The three Anthony Hopkins films (The Silence of the Lambs, Hannibal, and Red Dragon) are all set in the same continuity. The 2007 film Hannibal Rising shares a continuity with the Hopkins films, serving as a prequel to Silence of the Lambs. The 2021 television drama Clarice is meant to share a continuity with the Hopkins films, bridging the gap between Silence of the Lambs and Hannibal. Due to rights issues, the Clarice series wasn’t allowed to mention Hannibal Lecter by name, but the character is indirectly referenced a few times.
The 2013 Hannibal television series is a separate entity, taking place in its own continuity. For example, the Hannibal television series tells its own version of the Red Dragon story, which doesn’t entirely match up with the 2002 film.
Is Hannibal Lecter based on a real person?
As disturbing as it seems, Dr. Hannibal Lecter was partially based on a real person. The creator of Hannibal Lecter, Thomas Harris, based the character on Alfredo Balli Trevino, a murderer he encountered in a Monterrey prison facility. Harris had an extensive conversation with Balli, believing him to be a prison doctor. The staff later informed him that Balli was a convicted murderer. Harris was struck by Balli’s cold and clinical demeanor, and fascinated by the way he was able to pull the wool over his eyes.
Like Lecter, Balli had a medical science background before becoming a murderer. Balli was a surgeon who had murdered his boyfriend. After killing his lover, Balli drained the blood from the body, chopped it up, and hid the remains in a small box. Although never proven, authorities suspected that Balli was behind the disappearance of numerous hitchhikers. Unlike Lecter, there is no evidence that Balli ever ate his victims.
This is where it gets really disturbing. Balli’s prison sentence was commuted in 1981 (after serving only 20 years). After his release, there is evidence that he continued practicing medicine (off the books) in Monterrey. Yikes! Balli died of pancreatic cancer in 2008.
Where can I watch Hannibal Lecter?
Now that you know how to watch Hannibal Lecter, let’s go over WHERE you can watch. The Silence of the Lambs and the 2001 film Hannibal are both available to stream on MGM+. The 2013 television series Hannibal can be streamed on Prime Video. Hannibal Rising is available on Prime Video, via their Freevee channel. The Clarice television series is currently available to stream on the CW’s official website.
As of this writing, Red Dragon and Manhunter aren’t available on any streaming services, but both films can be purchased or rented digitally from a variety of video-on-demand platforms, including Google Play Movies, Apple TV, and more. Please note, some of these films might wind up on different streaming platforms after their licenses expire.
Now you have everything you need to begin watching the Hannibal franchise. Make sure your doors are locked and try not to lose your appetite.
Want to know what's coming up next in pop culture? Check out our guides to upcoming movies, upcoming TV shows, upcoming comics, and upcoming comic conventions. If you're looking for specific franchises or genres, we have all the upcoming MCU, upcoming Star Wars, upcoming Star Trek, and upcoming DC movies & TV for you. If you're a fan of superheroes and not specific to just Marvel or DC, we have overall guides to all the upcoming superhero movies and upcoming superhero TV shows (and new seasons) as well.
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For other uses, see Hannibal (disambiguation). Hannibal is a 2001 film based on the book of the same name by Thomas Harris and the sequel to the Academy Award-winning film The Silence of the Lambs. Hannibal Lecter returns to America and attempts to make contact with disgraced Agent Starling and...
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Hannibal Wiki
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https://hannibal.fandom.com/wiki/Hannibal_(film)
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“
As your mother tells you, and my mother certainly told me, it is important, she always used to say, always to try new things.
— Dr. Hannibal Lecter, before feeding an unknowing boy human brain
”
For other uses, see Hannibal (disambiguation).
Hannibal is a 2001 film based on the book of the same name by Thomas Harris and the sequel to the Academy Award-winning film The Silence of the Lambs.
Plot[]
Hannibal Lecter returns to America and attempts to make contact with disgraced Agent Starling and survive a vengeful victim's plan.
Cast[]
Anthony Hopkins as Dr. Hannibal Lecter
Julianne Moore as Clarice Starling
Gary Oldman as Mason Verger
Ray Liotta as Paul Krendler
Giancarlo Giannini as Chief Inspector Rinaldo Pazzi
Željko Ivanek as Dr. Cordell Doemling
Hazelle Goodman as Evelda Drumgo
Frankie R. Faison as Barney Matthews
Ivano Marescotti as Carlo Deogracias
Francesca Neri as Allegra Pazzi
Danielle de Niese as Beatrice
Synopsis (contains spoilers)[]
The film takes place ten years after the events depicted in The Silence of the Lambs. In the opening scene, Barney, one of Hannibal Lecter's care givers at the Baltimore hospital, talks to a disfigured and paraplegic man, Mason Verger, about the conversations Barney had with Lecter and Lecter's relationship with Clarice Starling. Barney then shows Verger a boxed object he's brought with him: the leather restraining mask used to cover Lecter's face when he was being transported. Barney asks for a price of $250,000 for it and Verger eagerly accepts.
FBI agent Clarice Starling is in Washington DC, leading a raid to arrest an HIV-positive drug dealer named Evelda Drumgo. Though Starling has laid out precise plans to the arresting team, the raid is horrifically botched when one of the agents rushes Drumgo and her gang after Starling orders them to stand down because Drumgo is carrying an infant. When Clarice orders Drumgo to surrender, Drumgo whips out a machine pistol and opens fire, hitting Clarice. Clarice responds reflexively and shoots and kills Drumgo, splattering the infant with her blood, as well as four other gang members. During the gun battle, a number of agents are also killed. Clarice, who had been wearing a bulletproof vest, recovers the child and washes it off with a nearby hose. Starling is disgraced by Justice Department official Paul Krendler, whose romantic advances Starling had rejected years earlier.
As a result of the publicity surrounding the drug raid, Starling and her past connection to escaped serial killer Hannibal Lecter comes to the attention of one of Lecter's victims, Mason Verger, who is also a wealthy, sadistic pedophile. Verger, Lecter's fourth victim, was the only victim to survive Lecter's killing spree, still seeks revenge for what occurred. He uses his political influence to have Starling assigned to the Lecter case once again in the hope that this will draw Lecter out of hiding.
At Muskrat Farm, the Verger's estate, Verger claims to have new information about Lecter (an X-ray), which he is willing to disclose only to Starling, and she is sent to his estate to collect it and interview him. Upon her arrival, Verger tells Starling about his history with Lecter. They met when Lecter was assigned by a court as Verger's therapist after Verger's conviction on multiple counts of child molestation. Verger invited Lecter to his pied de terre. While showing Lecter his noose used for auto erotic asphyxiation, Lecter offered Verger an amyl popper. In reality, it was a cocktail of hallucinogenic drugs. Lecter then convinced Verger to cut off his face and feed it to his dogs, then snapped his neck with the noose. Verger is now horrifically disfigured and bedridden and confined to his secluded mansion, but with the assistance of his personal physician Cordell and other minions, he is pursuing an elaborate scheme to capture, torture and kill Lecter.
In Florence, Italy, Chief Inspector Rinaldo Pazzi of the Questura is investigating the disappearance of the curator of the Capponi Library, a Renaissance palace that serves as a repository of rare books, historical documents, and art treasures. In the course of his investigation, Pazzi meets the new curator: "Dr. Fell," who is actually Hannibal Lecter. Lecter greets Pazzi, claims not to know of his predecessor's whereabouts. He also notes that Pazzi is related to Francesco di Pazzi, who was executed many centuries before by hanging and disembowelment. Lecter mentions that Pazzi was also struck off the Il Mostro serial killer case.
As Verger surmised, Lecter soon learns of Starling's public disgrace and reassignment to his case, and he sends her a letter that is at once sympathetic and mocking. The letter contains no apparent clue to Lecter's whereabouts, but Starling detects a strange fragrance upon it. She takes it to a perfume company, where the experts inform her that the writer used a very expensive skin cream that could have been sold in only a few shops in the world, one of which is in Florence.
Starling contacts the police departments of the cities where the shops are located, including Pazzi's department, asking for copies of any surveillance tapes made by cameras installed in the shops. When Pazzi sees one of his men making a copy of such a tape for Starling, he recognizes "Fell" in the tape and decides to find out why the FBI is interested in him. Pazzi accesses the FBI's database of fugitive criminals and learns that "Fell" is Hannibal Lecter. He also learns that Verger is offering a reward of $3 million to anyone who assists him in capturing Lecter in lieu of turning him over to the FBI (who offer a $250,000 reward). Hoping to collect the larger bounty, Pazzi makes contact with Verger's people and agrees to help them kidnap Lecter. Starling, meanwhile, has received the surveillance tape from Florence, has recognized Lecter, and has learned that Pazzi has been using the FBI's database to check on Lecter. She calls Pazzi and warns him against trying to capture Lecter himself, describing the brutal escape from ten years ago, but Pazzi ignores her warning.
Pazzi coerces a local pickpocket into wearing a cheap bracelet and attempting to rob Lecter. The pickpocket follows Lecter through the streets of Florence. When he reaches for Lecter's wallet, Lecter grabs him by the wrist (and the bracelet) and slyly stabs the man in the upper leg, severing his femoral artery. Pazzi finds the thief and takes the bracelet from him, leaving him to bleed to death on the street. Pazzi sends the bracelet with Lecter's prints to Verger who has them confirmed as Lecter's.
Pazzi and Verger's men try to kidnap Lecter after his scheduled evening lecture on the poetry of Dante to a group of scholars at the Palazzo Vecchio, but their plan goes badly awry. After the lecture, Lecter chloroforms Pazzi, knowing of his plan to sell him to Verger. When he wakes, Pazzi is confined to a hand truck with a noose over his neck. Lecter interrogates Pazzi, forcing him to answer several questions by threatening to kill and eat Pazzi's wife. Lecter murders Pazzi by first slashing open the man's abdomen and then throwing him off an upper floor balcony with a noose around his neck, disembowelling him in the process -- the same fate of Francesco, Pazzi’s ancestor. Lecter then escapes, slashing the throat of one of Verger's henchmen, deciding to return to the United States to renew his acquaintance with Starling.
Frustrated by the failed attempt to kidnap Lecter, Verger tries to draw him out of hiding once again by getting Starling into more trouble. He bribes Krendler to accuse her of withholding a note she received from Lecter. The ploy works, and Starling is suspended from duty. Verger's men keep her under surveillance in the hope that Lecter will contact her. Lecter, meanwhile, has been watching her and also watching Krendler. Lecter then buys china and crystal for an elaborate meal and also steals surgical equipment from a hospital. He takes everything to a secluded lakefront house that he has learned belongs to Krendler.
Lecter then contacts Starling, luring her to Washington's Union Station for a meeting. Verger's men follow her there. As Starling looks for Lecter among the crowd of travelers and shoppers at the station, she and Lecter converse by cell phone. He expresses his admiration for her and his sympathy for the shabby treatment she has received from the FBI, at one point suggesting that he might force the people who have disrespected her to "scream apologies." He ends the conversation by luring her to a photo booth, with shoes in there. He hangs up, saying he hoped she liked the skin cream.
Having spotted Lecter, Verger's men capture him in the station's parking lot despite Starling's efforts to stop them. Starling makes a fruitless attempt to expose Verger's scheme to the FBI. Meanwhile, Verger's men transport Lecter to the Verger estate. Verger greets Lecter and graphically describes his plan, he plans to watch Lecter being eaten alive by a herd of vicious wild boars that Verger — an expert at swine breeding from his days in the family meatpacking business — has prepared especially for the purpose. Verger taunts Lecter, saying he probably wished that he fed the rest of him to the dogs. Lecter merely replies that he much prefers Verger in his current state.
When the FBI refuses to act on her report that Verger has kidnapped Lecter, Starling goes alone to Verger's estate. She intervenes as Verger's henchmen are about to unleash the pigs on Lecter, shooting the men and freeing him, but she is shot and wounded in the shoulder. Lecter then rescues her from the animals. When a furious Verger orders his physician Cordell to shoot Lecter, Lecter persuades Cordell (who has always hated his master) to throw Verger into the pen with the hogs instead, and Verger dies in the very manner in which he had hoped to kill Lecter, Lecter having assured Cordell he will take the blame for the deed. Early next morning, on 4th July, Krendler is ambushed at his house by Lecter.
Lecter takes Starling to Krendler's lakefront house and treats her bullet wound. She awakens in an upstairs bedroom, dressed for a formal occasion. On her way downstairs, she finds a phone and calls the police. Instead of taking their advice and leaving the house to wait for their arrival, she looks for Lecter downstairs. She finds him in the dining room where he has set the table as if for an elegant dinner party, watched by the seated Krendler, who has been heavily drugged. As Starling looks on, horrified, Lecter removes the top of Krendler’s skull, cuts out part of his brain (the pre frontal cortex, the part that Lecter says is “associated with good manners”), sautés it in a pan by the table, and feeds it to the dazed Krendler. Clarice, almost vomiting, pleads with Lecter to stop and saying she'll give him the details of the FBI’s profile on him so he can escape. Lecter rebukes the offer.
When Lecter wheels Krendler back to the kitchen to clear up after the “meal,” Starling attacks him with a silver candlestick but is easily overpowered. Lecter traps her hair in the fridge. He asks her, “Tell me Clarice, would you ever say to me, ‘Stop ... if you loved me, you’d stop’?” To which Starling replies, “Not in a thousand years.” Lecter replies with, “That’s my girl," then kisses Starling. Just as he is about to leave, thinking he's won, he hears a click and sees that Starling has handcuffed his wrist to her own. When she refuses to provide the key, Lecter pins her wrist to a table and brandishes a meat cleaver. He raises it and says, "This is really going to hurt." Next we see Starling outside the house, looking for Lecter, who escaped just before the police cars arrived, and both her hands are intact.
The last scene is of Lecter on an airplane. One of his arms is in a sling. His hand is not visible. He is preparing to eat the boxed meal he has brought with him, and a small boy sitting next to him asks about the food. Lecter opens the container to reveal several kinds of food, among which is what appears to be part of Krendler's brain, cooked and sliced. The boy asks to try the brain. Lecter is both intrigued and impressed and allows him to, saying that his mother always told him to try new things. Lecter feeds the brain to the boy as the camera pans out.
Gallery[]
View the complete gallery
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Dr Hannibal Lecter, who was arrested for cannibalism, now lives at an unknown location under a new identity. One of the victims, Mason Verger, makes an elaborate plan to find him and avenge himself.
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en
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DeadEndDVD
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https://deadenddvd.com/products/hannibal-linmited-edition-universal-pictures-4k-uhd-blu-ray-steelbook-pre-order-slipcover
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Hannibal Limited Edition Universal Pictures 4K UHD/Blu-Ray Steelbook [NEW] [SLIPCOVER]
Hannibal Limited Edition Universal Pictures 4K UHD/Blu-Ray Steelbook [NEW] [SLIPCOVER]
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Dr Hannibal Lecter, who was arrested for cannibalism, now lives at an unknown location under a new identity. One of the victims, Mason Verger, makes an elaborate plan to find him and avenge himself.
View full details
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https://www.slashfilm.com/1407306/hannibal-lecter-movies-correct-order-to-watch/
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The Correct Order To Watch Every Hannibal Lecter Movie
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"BJ Colangelo"
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2023-09-30T09:00:14+00:00
|
Hannibal Lecter is one of the most infamous and beloved villains in horror history. If you're looking to binge the Lecter films, here's the correct order.
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en
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SlashFilm
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https://www.slashfilm.com/1407306/hannibal-lecter-movies-correct-order-to-watch/
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While most horror icons wear memorable masks or possess some otherworldly abilities, the intelligent and enigmatic serial killer cannibal Dr. Hannibal Lecter is one of the most beloved human monsters. Sir Anthony Hopkins won the Academy Award for Best Actor in Jonathan Demme's "The Silence of the Lambs," part of the film's sweep at the Oscars in all major categories. While Hopkins' performance may have been the introduction to the character for a majority of the public, Dr. Lecter was first introduced in a series of books by Thomas Harris, or a film released five years before Demme's controversial classic.
Nicknamed "Hannibal the Cannibal," the brilliant Dr. Lecter is both a genius and a deeply disturbed individual, forcing the audience to reckon with the fact that some of the most monstrous people look just like us, sometimes in positions of respectable power. Thomas Harris' books were released in the order of "Red Dragon" in 1981, "The Silence of the Lambs" in 1988, "Hannibal" in 1999, and "Hannibal Rising" in 2006, but this does not match the release order of the films or the order of chronological events in the story's timeline. This is to say, it's a little confusing to figure out what order to watch the films.
Fortunately, I am a sicko who thinks cannibalism stories are gross and cool, so I'm happy to be your guide to the cinematic world of Hannibal Lecter. Enjoy the complimentary side of fava beans and a nice Chianti.
Throw the release date order out the window, because the "Hannibal" films rival the "Saw" franchise in their habit of releasing prequels later down the line. Fortunately, there are only half the number of films to account for, so it's a bit easier to follow. Looking at the timeline events of Hannibal Lecter's adventures in crime and cannibalism, the order is as follows:
"Hannibal Rising" (2007)
"Red Dragon" (2002) / "Manhunter" (1986)
"Silence of the Lambs" (1991)
"Hannibal" (2001)
The reason that "Red Dragon" and "Manhunter" are grouped together is because both films use the "Red Dragon" book as source material, so you can watch either film interchangeably. I'd recommend watching "Red Dragon" first because this order puts the sole film that doesn't star Anthony Hopkins in the middle of the movie marathon and serves as a natural midpoint. Additionally, Julianne Moore replaces Jodie Foster as Clarice Starling in "Hannibal," but Hopkins remains in the titular role. So even though there's an actor change, this is a continuation of the story.
Obviously, the best order to watch any series will always be subjective, but my preferred order of marathoning the Hannibal Lecter films is to start with "Manhunter," and then watch the rest of the films in the timeline sequence. Anthony Hopkins is synonymous with Hannibal Lecter, despite the fact multiple actors have played the character at this point. The first was Brian Cox in "Manhunter," a performance he gave three decades before he would solidify himself as a television legend as patriarch Logan Roy on "Succession." Although the events of "Manhunter" take place after the events of "Hannibal Rising," the film serves as a great introduction to the character and a historical reminder of where it all started. This would put the order as follows:
"Manhunter" (1986)
"Hannibal Rising" (2007)
"Red Dragon" (2002)
"Silence of the Lambs" (1991)
"Hannibal" (2001)
Ending on "Hannibal" is always the correct choice, because there are few endings as terrifying as what Lecter chooses to do with Paul Krendler (Ray Liotta). Without spoiling anything here ... if there's a note to go out on, it's that one.
While the Hannibal Lecter series of movies is often the first thing people associate with actor Anthony Hopkins, there's an argument to be made that Mads Mikkelsen has become the true face of Hannibal after starring in three seasons of Bryan Fuller's fan-favorite series, "Hannibal." Taking place before the events of "Silence of the Lambs," the show followed Lecter during his time as a renowned psychiatrist and FBI consultant. There is a heavy focus placed on his relationship with partner Will Graham (Hugh Dancy), an FBI criminal profiling instructor. Hannibal uses his position and relationship with Graham to allow himself to continue killing (and eating) people without getting caught, and the show evolves from a procedural crime series to a tragic love story.
The show pulls from Thomas Harris' books "Red Dragon," "Hannibal Rising," and "Hannibal," but was canceled way, way too soon. "Hannibal" enjoys a cult-like following, with the #Fannibals constantly starting grassroots campaigns to try and resurrect the show, or at least squeeze out a movie. Love for the show is passionate and dedicated; 17-year-old Kathleen Palmer's cubist painting of Hannibal and Will Graham, titled "Dolce," was even displayed in the Library of Congress after Palmer won the Congressional Art Competition for New Jersey's Third Congressional District. Yes, you read that correctly, "Hannibal" fanart was shown in the Library of Congress. So if you've already committed to watching all of the films featuring Hannibal Lecter, you owe it to yourself to watch "Hannibal."
There's also the sole season of "Clarice" if you're more interested in seeing what happened to Clarice Starling after the events of "Silence of the Lambs," but this is only necessary for completionists.
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https://www.set-jetter.com/ontheset/hannibal
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Hannibal (2013
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I admit it, I didn't want to give the Hannibal tv series a shot when it premiered. It wasn't until midway through the second season I decided to give it another go after hearing rave reviews and I've been a Fannibal ever since. Bryan Fuller did a fantastic job of creating a universe that was familia
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https://www.set-jetter.com/ontheset/hannibal
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I admit it, I didn't want to give the Hannibal tv series a shot when it premiered. It wasn't until midway through the second season I decided to give it another go after hearing rave reviews and I've been a Fannibal ever since. Bryan Fuller did a fantastic job of creating a universe that was familiar but would veer out into new directions with characters following different beats. I was sorry to see it go after three seasons, but I know in my heart it will be back. Last year I made it to Toronto for the first time and was excited to see Hannibal locations up close and personal. I wasn't able to hit them all, but tried to get the main ones. Special thanks to David Fleischer and his Reel Toronto column for highlighting many of these locations.
I'll start with the main locations that appear throughout the series then do a few each season. Hannibal's office probably makes the most appearances albeit mostly in establishing shots. It is located at 71 Simcoe Street in Toronto, Ontario. I tried to replicate the shots the best I could, but couldn't get the full range without a special lens.
The real Quantico is located in Virginia and was featured in The Silence of the Lambs. For the series, they used the University of Toronto - Scarborough, in particular, the Humanities Wing at 1256 Military Trail in Scarborough, Ontario. The building is impressive in real life as it looks on the screen and it was fantastic to see it in person.
I was excited when Mason Verger came on to the series. His estate is made up of a few different locations, but the horse stables are part of the Casa Loma estate, located at 328 A Walmer Road in Ontario. Lots of construction going on, so I decided to opt out of the tour and come back another time when it looked a bit better.
On to the third season, which shot a lot in Europe due to the storyline. We begin in France, following Hannibal speeding through the city on a motorcycle stopping in front of a hotel. With a nice use of CGI, he is at the Novotel in Toronto located at 45 The Esplanade. (Of course, I chose to stay at this hotel during my visit!)
Francis Dollarhyde picks up Reba McClane at this bus stop. This was a particularly tough one to find, but I was able to make out a sign for the Oriental Food Centre building in the background, located at 580 Orwell Street in Mississauga, Ontario. The bus stop was put in just south of the building.
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Hannibal review
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Anthony Hopkins, Julianne Moore are an odd couple in "Hannibal." Click on images to see larger versions..
'Hannibal': a meal
that fails to satisfy
Reviewed by John Orr
Even if it hadn't been conceived in the long shadow of "The Silence of the Lambs," "Hannibal" would still fail to satisfy.
As a would-be thriller, it just has too much down and dull time, thanks to a weak script by David Mamet and Steven Zaillian and uninspired direction by Ridley Scott.
But given the existence of "The Silence of the Lambs" and even "Manhunter," the Michael Mann film in which we first meet Hannibal Lecter "Hannibal" doesn't just fail to satisfy, it actually disappoints.
We wanted a better film than this, and while it has some wonderful moments and performances, its disjointedness and lack of story focus lead to more yawns than screams.
It is the story of Clarice Starling and Hannibal the Cannibal Lecter, 10 years after his escape from prison in "The Silence of the Lambs." She has continued with the FBI, where she is being treated less than fairly, and must suffer the annoyance of federal agent Paul Krendler. Hannibal is living in Europe, where he has found employment for his elegant taste in the arts and the classics.
The thumb in Hannibal's happy pie is Mason Verger, a ridiculously rich man who was horribly mutilated in a Hannibal incident, and who is willing to spend a lot of his money to catch Lecter and return the favor.
It is Verger's machinations that bring Lecter out of hiding, and back to the United States, where he and Clarice are to meet again.
The sloppy subplotting includes Krendler and an Italian cop trying to get their hands on Lecter for the sake of Verger's money.
Moore is fine as Clarice, especially in displaying the emotional toughness we expect Clarice to have accrued in the last decade. The one weakness is that she doesn't really have that hardbody toughness we'd expect of Starling, that Jodie Foster portrayed so well. Moore is just too soft, even when running an exercise course or shooting guns.
Hopkins is great, as always, and we get to see more of how he really is a monster, not just an elegant and sophisticated man who happens to be in prison.
Giancarlo Giannini has a wonderful turn as the Italian cop who is desperate to give his beautiful young wife (played by Francesca Neri) nice and expensive things. He is at once dissipated yet still filled with soul. His remarkable eyes tell us all, and his turn with Hannibal is the best part of the film.
Gary Oldman is terrific, as always, in the Verger role. Ray Liotta is as good as he can be as the corrupt Krendler, but is poorly served by inept script and direction.
Problems include the silly way Verger wants to kill Lecter, which is more laughable than scary, and that the relationship between Clarice and Hannibal is so clumsily delivered.
Jonathan Demme, directing "The Silence of the Lambs," was able to keep Clarice and Hannibal appealing and interesting on many levels, including regarding their relationship, which made the horrible tale actually charming in a way.
We want more of that kind of charm in "Hannibal," and while an effort has been made, Scott fails to deliver at least, on as many levels as did Demme.
It's a stew prepared by too many cooks, and some of the chunks just don't compliment each other.
AT HOME OR AT A THEATER?
At home would be fine. Really, it's not worth $8.50 at a cineplex.
DVD at Amazon.com
VHS at Amazon.com.
Gianancarlo Giannini is wonderful in "Hannibal," communicating a world of meaning with his soulful eyes..
Tasty performances
make it a treat
Reviewed by Carlos deVillalvilla
The main problem with "Hannibal," the multi-bazillion dollar grossing thriller, is "Silence of the Lambs." Inevitably, it is going to be compared to that modern classic (after all, it is a sequel) and quite frankly, it doesn't hold up.
But y'know, director Ridley Scott really isn't trying to do that. To his credit, "Hannibal" is a completely different type of movie, not so much suspenseful as visceral; it is more horror than it is heartstopping.
Some years have passed since the events of "Silence of the Lambs." Clarice Starling (a terribly miscast Julianne Moore) has managed to alienate most of her superiors and peers at the FBI, and after a botched arrest which leaves her partner dead and Starling under intense media scrutiny, has begun to have doubts about her career.
Meanwhile, escaped madman Dr. Hannibal Lecter (Anthony Hopkins, reprising his role from "Silence") has settled into a quiet life in Florence, Italy, as an academic. Careful not to attract too much attention to himself (and circumspectly wearing gloves and wiping wineglasses to protect from his fingerprints being discovered), he has found a niche that appeals to his love of antiquity, fine dining and academia. The problem is, Hannibal the Cannibal has become bored.
The only living survivor of a Lecter attack, multi-billionaire Mason Verger (Gary Oldman, wonderful under a queasiness-inducing makeup job), has been plotting his revenge since Lecter's escape, but has been unable to locate the good doctor. Starling's disgrace becomes Verger's chance to smoke the good doctor out of hiding, and he uses a Justice Department bureaucrat (Ray Liotta) to do just that.
In the meantime, the academic has been spotted by an Italian policeman (Giancarlo Giannini), who is trying to support a high-maintenance, beautiful wife on a policeman's salary. The reward for bringing in Lecter proves to be too tempting for the lawman, and so the game is afoot.
At the risk of giving too much away, things go south and Lecter comes home, mainly to observe Starling. He has a rather unique bond with her, and although his motivations are never made as clear as they are in the book, there seems to be a hint of romance in the doctor's motivation.
Quite frankly, there is a lot of gore here, much more than either of the first two Lecter movies (Michael Mann's "Manhunter" being the first). Although there is some nifty viscera (particularly the scene where a man eats a meal you won't find in the average fast food joint ... well, then again, you never know), that alone won't carry a movie.
What does is story and performance. The acting is certainly solid. Hopkins chews the scenery like his character chews other characters but still makes Lecter one of the most interesting screen villains ever ... in fact, "villain" is not quite the right term for Lecter. Most of the movie, you spend rooting for him to get away from those who wish to take away his freedom, but you are reminded at every turn just how dangerous and homicidal he is. It's not unlike rooting for "Stone Cold" Steve Austin, Triple H and other outlaw wrestlers.
Giannini is as soulful an actor as there is today; here is a man not hemmed in by desperation, but by resignation. His pain is quiet and restrained, mostly communicated through his eyes and a sad smile.
Oldman's scarred, twisted Mason Verger is the true baddie of the movie, and I am not aware of any actor today who does bad guys as well as Gary Oldman. Verger revels in his wickedness, wearing his scars like a badge of honor. He can't let the pain and suffering go - but in a sick way, he needs them to be who he is.
Director Ridley Scott must have been flashing back to his "Blade Runner" days when filming this; the movie is filled with rain, umbrellas and crowds (although the neon is missing). The cityscape of Florence is in its own way a major part of the movie's allure; the beautiful, ancient, civilized Florence has an underbelly that can't be trifled with.
There are certain unexpected moments of lightness - for example, prominently featured in Lecter's kitchen is a vegetarian cookbook. However, for the most part, there is a heavy sense of impending destiny that drags the movie down. The showdowns between Lecter and Verger, as well as the one between Lecter and Starling are both too predictable.
Moore, while a fine actress, doesn't really capture the toughness of Starling. As the good doctor (Gone, not Lecter) pointed out in his review, Moore doesn't really have the physicality needed for the part (although, to be fair, neither does recent mother Jodie Foster at this point). Moore never for a moment convinces me that she is dangerous. In all of the physical confrontations she is involved with, she gets bested rather easily.
While the ending of the movie differs significantly from the more controversial ending of the book, I think it works better. I never really understood why novelist Thomas Harris had Starling do what she did at the book's conclusion; the ending screenwriter David Mamet came up with here seemed more consistent to her character. Nevertheless, I'm not a huge fan of Mamet's writing; he is a bit too cerebral and slow for my tastes. Here, the pace drags and the plot is obfuscated with unnecessary little "See how smart I am"-type intellectualisms that I found a tad pretentious. Did we really need Lecter reading sonnets by Dante aloud?
"Hannibal" has already made a ton of money, and there's no reason why it shouldn't. I recommend it mainly for the performances of Hopkins, Oldman and Giannini and I think the movie works despite the godawful script, elephantine pacing and inept plotting.
Let's face it. Most of us are going to see it regardless of the reviews. Let's just say this is a good movie that didn't meet the impossible expectations set for it.
AT HOME OR AT A THEATER?
It's probably too late - you've already seen it in a theater. If you haven't, don't fret - it makes more sense as a video rental.
DVD at Amazon.com
VHS at Amazon.com.
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Will Hannibal the Cannibal eat Hollywood?
|
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A special feature brought to you by
Dining with the Lecters
Will Hannibal the Cannibal eat Hollywood?
Demme's out on "Silence of the Lambs" sequel; Universal may pass, too; Dino De Laurentiis stands rampant; and what do you suppose the chances are that Jodie Foster will play a cannibal?
By Nikki Finke
www.salon.com
June 4, 1999
Web posted at: 3:33 p.m. EDT (1933 GMT)
(SALON) -- Even as the long-awaited sequel to "The Silence of the Lambs" is being published, one of Hollywood's most carnivorous dealmakers is carving up the movie version so horribly that it could turn even the novel's famous cannibal into a vegetarian. Delacorte will have 1.3 million copies of Thomas Harris' "Hannibal" in bookstores Tuesday, ready for a nation's summer beach reading. But the big-screen version is in big trouble -- and not just because it's hard to imagine Jodie Foster eating an FBI lawyer's brains.
A movie sequel would seem to be a slam dunk. After all, "The Silence of the Lambs" won the best picture Academy Award in 1991; just about everyone involved in the film -- stars Foster and Anthony Hopkins, director Jonathan Demme and screenwriter Ted Tally -- took home an Oscar as well. Not to mention the fact that the film made three times its cost. Put that amazing team of talent back together and voilà -- another box office blockbuster, and more Golden Boys to sit on everyone's mantle.
But that doesn't take into account the bad behavior that rears its ugly head in Hollywood whenever the words "major money" are uttered. Mix in the apocalyptic ingredients of greed, ego and a book plot so horrific that it's hard to imagine anyone sitting through it ever, and everything starts going to hell in a film canister. The result? The very real possibility that "Hannibal" the movie won't bear much resemblance to the original. Informed sources say Universal, which controls the property, is seriously considering passing on the project.
The news is stunning. Yet Universal has its reasons.
Several reasons, in fact, many of them caused by the incessant wheeling and dealing of that catastrophic catalyst Dino De Laurentiis, a man canny enough to send his personal pasta chef to Miami to cook for Harris, presumably so the writer would finish "Hannibal" faster. He's also a mogul more interested in making a mint off "Silence II" than in making a mint movie. A Byzantine series of back-room maneuvers dating back years means that De Laurentiis retains the rights to the character Hannibal Lecter, the murderous cannibal played in the film by Anthony Hopkins. (Harris first created the character in the novel "Red Dragon," which was turned into the De Laurentiis-produced, Michael Mann-directed motion picture "Manhunter." A tortuous history of the rights to the "Silence of the Lambs" sequel, drafted this winter by Century City law firm Greenberg Glusker Fields Claman & Machtinger, took 10 pages to sum up. Even so, the confidential document was incomprehensible even to those people involved from the very beginning.)
Meanwhile, Universal leveraged first negotiation and last refusal rights from De Laurentiis for any "Silence of the Lambs" sequel written by Harris. That didn't stop both sides from going to court on the matter until a settlement was reached. Then, last month, a $10 million payment put De Laurentiis first in line for the "Hannibal" film rights. Now it's Universal's turn to say yea or nay.
But if anyone can ruin a hot property before the screenwriter is even hired, it's De Laurentiis. Do "Ragtime," "Flash Gordon" or the 1976 version of "King Kong" ring a bell?
Hollywood dealmakers say negotiating with De Laurentiis ranks right up there with having a root canal. According to sources, his refusal to give Demme creative control over the sequel demoralized the director to the point where he left the project. Incredibly, De Laurentiis has also been lobbying for weeks to drop Foster from the project; the producer, who insists on calling the double Oscar-winner "Judy" in his conversations, kvetches that the sequel can't afford both her and Hopkins, particularly if they both want their expected $20 million paydays.
Harris delivered his manuscript March 23. Since then, De Laurentiis has been on the phone daily with agents, monitoring the progress of the book-into-film project from, of all places, the Mediterranean island of Malta, where he has been on location producing the World War II submarine drama "U-571." Now, the wily and whiny Italian has arrived at his home in Los Angeles to begin negotiating with Universal Pictures.
"Dino isn't stupid. He's heard that he's on shaky ground with Universal," one source maintained. In a gambit to save the project, De Laurentiis is trying to convince director Ridley Scott to come on board. Scott, oddly enough, had been filming his own movie on Malta as well; that's where De Laurentiis handed him a copy of Harris' 10-years-in-the-making novel. But this plan is still in its "embryonic" stages, one source contends. "It's just an idea right now. It hasn't even given birth to a baby deal."
Next page | "Clarice -- it's time for dinner!"
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The Silence of the Lambs movie review (1991)
|
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[
"Roger Ebert"
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A fundamental difference between “The Silence of the Lambs” and its sequel, “Hannibal,” is that the former is frightening, involving and disturbing, while the latter is merely disturbing. It is easy enough to construct a geek show if you start with a cannibal. The secret of “Silence” is that it doesn't start with the cannibal--it arrives at him, through the eyes and minds of a young woman. “Silence of the Lambs” is the story of Clarice Starling, the FBI trainee played by Jodie Foster, and the story follows her without substantial interruption. Dr. Hannibal Lecter lurks at the heart of the story, a malevolent but somehow likable presence--likable because he likes Clarice, and helps her. But Lecter, as played by Anthony Hopkins, is the sideshow, and Clarice is in the center ring.The popularity of Jonathan Demme's movie is likely to last as long as there is a market for being scared. Like “Nosferatu,” “Psycho” and “Halloween,” it illustrates that the best thrillers don't age. Fear is a universal emotion and a timeless one. But “Silence of the Lambs” is not merely a thrill show. It is also about two of the most memorable characters in movie history, Clarice Starling and Hannibal Lecter, and their strange, strained relationship (“people will say we're in love,” Lecter cackles).They share so much. Both are ostracized by the worlds they want to inhabit--Lecter, by the human race because he is a serial killer and a cannibal, and Clarice, by the law enforcement profession because she is a woman. Both feel powerless--Lecter because he is locked in a maximum security prison (and bound and gagged like King Kong when he is moved), and Clarice because she is surrounded by men who tower over her and fondle her with their eyes. Both use their powers of persuasion to escape from their traps--Lecter is able to rid himself of the pest in the next cell by talking him into choking on his own tongue, and Clarice is able to persuade Lecter to aid her in the search for the serial killer named Buffalo Bill. And both share similar childhood wounds. Lecter is touched when he learns that Clarice lost both her parents at an early age, was shipped off to relatives, was essentially an unloved orphan. And Lecter himself was a victim of child abuse (on the DVD commentary track, Demme says he regrets not underlining this more).These parallel themes are mirrored by patterns in the visual strategy. Note that both Lecter in his prison cell and Buffalo Bill in his basement are arrived at by Starling after descending several flights of stairs and passing through several doors; they live in underworlds. Note the way the movie always seems to be looking at Clarice: The point-of-view camera takes the place of the scrutinizing men in her life, and when she enters dangerous spaces, it is there waiting for her instead of following her in. Note the consistent use of red, white and blue: not only in the FBI scenes, but also in the flag draped over the car in the storage shed, other flags in Bill's lair and even the graduation cake at the end (where the U.S. eagle in the frosting is a ghastly reminder of the way Lecter pinned a security guard spread-eagled to the walls of his cage).The movie's soundtrack also carries themes all the way through. There are exhalations and sighs at many points, as when the cocoon of the gypsy moth is taken from the throat of Bill's first victim. Much heavy breathing. There are subterranean rumblings and faraway cries and laments, almost too low to be heard, at critical points. There is the sound of a heart monitor. Howard Shore's mournful music sets a funereal tone. When the soundtrack wants to create terror, as when Clarice is in Bill's basement, it mixes her frightened panting with the sound of Bill's heavy breathing and the screams of the captive girl--and then adds the dog's frenzied barking, which psychologically works at a deeper level than everything else. Then it adds those green goggles so he can see her in the dark.Jodie Foster and Anthony Hopkins won Oscars for best actress and actor (the movie also won for best picture, for Demme's direction and Ted Talley's screenplay, and was nominated for editing and sound). It is remarkable that the Academy would remember, let alone single out, a film released 13 months before the Oscarcast; it usually votes for films that are still in theaters, or new on video. But “Silence” was so clearly one of a kind that it could not be ignored.Hopkins' performance has much less screen time than Foster's, but made an indelible impression on audiences. His “entrance” is unforgettable. After Clarice descends those stairs and passes through those doors and gates (which all squeak), the camera shows her POV as she first sees Lecter in his cell. He is so . . . still. Standing erect, at relaxed attention, in his prison jump suit, he looks like a waxwork of himself. On her next visit, he is erect, and then very slightly recoils, and then opens his mouth, and I at least was made to think of a cobra. His approach to Lecter's personality (Hopkins says on his commentary track) was inspired by HAL 9000 in “2001”: He is a dispassionate, brilliant machine, superb at logic, deficient in emotions.Foster's Clarice is not only an orphan but a disadvantaged backwoods girl who has worked hard to get where she is, and has less self-confidence than she pretends. Noticing the nail polish on one of Bills' victims, she guesses that the girl is from “town,” a word used only by someone who is not. Her bravest moment may come when she orders the gawking sheriff's deputies out of the room at the funeral home (“Listen here now!”).One key to the film's appeal is that audiences like Hannibal Lecter. That's partly because he likes Starling, and we sense he would not hurt her. It's also because he is helping her search for Buffalo Bill, and save the imprisoned girl. But it may also be because Hopkins, in a still, sly way, brings such wit and style to the character. He may be a cannibal, but as a dinner party guest he would give value for money (if he didn't eat you). He does not bore, he likes to amuse, he has his standards, and he is the smartest person in the movie.He bears comparison, indeed, with such other movie monsters as Nosferatu, Frankenstein (especially in “Bride of Frankenstein”), King Kong and Norman Bates. They have two things in common: They behave according to their natures, and they are misunderstood. Nothing that these monsters do is “evil” in any conventional moral sense, because they lack any moral sense. They are hard-wired to do what they do. They have no choice. In the areas where they do have choice, they try to do the right thing (Nosferatu is the exception in that he never has a choice). Kong wants to rescue Fay Wray, Norman Bates wants to make pleasant chit-chat and do his mother's bidding, and Dr. Lecter helps Clarice because she does not insult his intelligence, and she arouses his affection.All of these qualities might not be enough to assure the longevity of “Silence” if it were not also truly frightening (“Hannibal” is not frightening, and for all of its box-office success it will have a limited shelf life). “Silence” is frightening first in the buildup and introduction of Hannibal Lecter. Second in the discovery and extraction of the cocoon in the throat. Third in the scene where the cops await the arrival of the elevator from the upper floors. Fourth in the intercutting between the exteriors of the wrong house in Calumet City and the interiors of the right one in Belvedere, Ohio. Fifth in the extended sequence inside Buffalo Bill's house, where Ted Levine creates a genuinely loathsome psychopath (notice the timing as Starling sizes him up and reads the situation before she shouts “Freeze!”). We are frightened both because of the film's clever manipulation of story and image, and for better reasons--we like Clarice, identify with her and fear for her. Just like Lecter.
|
en
|
/assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png
|
https://www.rogerebert.com/
|
https://www.rogerebert.com/reviews/great-movie-the-silence-of-the-lambs-1991
|
The popularity of Jonathan Demme's movie is likely to last as long as there is a market for being scared. Like “Nosferatu,” “Psycho” and “Halloween,” it illustrates that the best thrillers don't age. Fear is a universal emotion and a timeless one. But “Silence of the Lambs” is not merely a thrill show. It is also about two of the most memorable characters in movie history, Clarice Starling and Hannibal Lecter, and their strange, strained relationship (“people will say we're in love,” Lecter cackles).
They share so much. Both are ostracized by the worlds they want to inhabit--Lecter, by the human race because he is a serial killer and a cannibal, and Clarice, by the law enforcement profession because she is a woman. Both feel powerless--Lecter because he is locked in a maximum security prison (and bound and gagged like King Kong when he is moved), and Clarice because she is surrounded by men who tower over her and fondle her with their eyes. Both use their powers of persuasion to escape from their traps--Lecter is able to rid himself of the pest in the next cell by talking him into choking on his own tongue, and Clarice is able to persuade Lecter to aid her in the search for the serial killer named Buffalo Bill. And both share similar childhood wounds. Lecter is touched when he learns that Clarice lost both her parents at an early age, was shipped off to relatives, was essentially an unloved orphan. And Lecter himself was a victim of child abuse (on the DVD commentary track, Demme says he regrets not underlining this more).
These parallel themes are mirrored by patterns in the visual strategy. Note that both Lecter in his prison cell and Buffalo Bill in his basement are arrived at by Starling after descending several flights of stairs and passing through several doors; they live in underworlds. Note the way the movie always seems to be looking at Clarice: The point-of-view camera takes the place of the scrutinizing men in her life, and when she enters dangerous spaces, it is there waiting for her instead of following her in. Note the consistent use of red, white and blue: not only in the FBI scenes, but also in the flag draped over the car in the storage shed, other flags in Bill's lair and even the graduation cake at the end (where the U.S. eagle in the frosting is a ghastly reminder of the way Lecter pinned a security guard spread-eagled to the walls of his cage).
The movie's soundtrack also carries themes all the way through. There are exhalations and sighs at many points, as when the cocoon of the gypsy moth is taken from the throat of Bill's first victim. Much heavy breathing. There are subterranean rumblings and faraway cries and laments, almost too low to be heard, at critical points. There is the sound of a heart monitor. Howard Shore's mournful music sets a funereal tone. When the soundtrack wants to create terror, as when Clarice is in Bill's basement, it mixes her frightened panting with the sound of Bill's heavy breathing and the screams of the captive girl--and then adds the dog's frenzied barking, which psychologically works at a deeper level than everything else. Then it adds those green goggles so he can see her in the dark.
Jodie Foster and Anthony Hopkins won Oscars for best actress and actor (the movie also won for best picture, for Demme's direction and Ted Talley's screenplay, and was nominated for editing and sound). It is remarkable that the Academy would remember, let alone single out, a film released 13 months before the Oscarcast; it usually votes for films that are still in theaters, or new on video. But “Silence” was so clearly one of a kind that it could not be ignored.
Hopkins' performance has much less screen time than Foster's, but made an indelible impression on audiences. His “entrance” is unforgettable. After Clarice descends those stairs and passes through those doors and gates (which all squeak), the camera shows her POV as she first sees Lecter in his cell. He is so . . . still. Standing erect, at relaxed attention, in his prison jump suit, he looks like a waxwork of himself. On her next visit, he is erect, and then very slightly recoils, and then opens his mouth, and I at least was made to think of a cobra. His approach to Lecter's personality (Hopkins says on his commentary track) was inspired by HAL 9000 in “2001”: He is a dispassionate, brilliant machine, superb at logic, deficient in emotions.
Foster's Clarice is not only an orphan but a disadvantaged backwoods girl who has worked hard to get where she is, and has less self-confidence than she pretends. Noticing the nail polish on one of Bills' victims, she guesses that the girl is from “town,” a word used only by someone who is not. Her bravest moment may come when she orders the gawking sheriff's deputies out of the room at the funeral home (“Listen here now!”).
One key to the film's appeal is that audiences like Hannibal Lecter. That's partly because he likes Starling, and we sense he would not hurt her. It's also because he is helping her search for Buffalo Bill, and save the imprisoned girl. But it may also be because Hopkins, in a still, sly way, brings such wit and style to the character. He may be a cannibal, but as a dinner party guest he would give value for money (if he didn't eat you). He does not bore, he likes to amuse, he has his standards, and he is the smartest person in the movie.
He bears comparison, indeed, with such other movie monsters as Nosferatu, Frankenstein (especially in “Bride of Frankenstein”), King Kong and Norman Bates. They have two things in common: They behave according to their natures, and they are misunderstood. Nothing that these monsters do is “evil” in any conventional moral sense, because they lack any moral sense. They are hard-wired to do what they do. They have no choice. In the areas where they do have choice, they try to do the right thing (Nosferatu is the exception in that he never has a choice). Kong wants to rescue Fay Wray, Norman Bates wants to make pleasant chit-chat and do his mother's bidding, and Dr. Lecter helps Clarice because she does not insult his intelligence, and she arouses his affection.
All of these qualities might not be enough to assure the longevity of “Silence” if it were not also truly frightening (“Hannibal” is not frightening, and for all of its box-office success it will have a limited shelf life). “Silence” is frightening first in the buildup and introduction of Hannibal Lecter. Second in the discovery and extraction of the cocoon in the throat. Third in the scene where the cops await the arrival of the elevator from the upper floors. Fourth in the intercutting between the exteriors of the wrong house in Calumet City and the interiors of the right one in Belvedere, Ohio. Fifth in the extended sequence inside Buffalo Bill's house, where Ted Levine creates a genuinely loathsome psychopath (notice the timing as Starling sizes him up and reads the situation before she shouts “Freeze!”). We are frightened both because of the film's clever manipulation of story and image, and for better reasons--we like Clarice, identify with her and fear for her. Just like Lecter.
|
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5824
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dbpedia
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2
| 74
|
https://faroutmagazine.co.uk/best-hannibal-lecter-movie-anthony-hopkins/
|
en
|
The best Hannibal Lecter movie, according to Anthony Hopkins
|
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[
"Scott Campbell"
] |
2024-05-08T15:45:00+01:00
|
The role of Hannibal Lecter turned Anthony Hopkins from acclaimed thespian into an international superstar, but there's one he deemed the best of the bunch.
|
en
|
/favicon.ico
|
Far Out Magazine
|
https://faroutmagazine.co.uk/best-hannibal-lecter-movie-anthony-hopkins/
|
Anthony Hopkins picks the best Hannibal Lecter movie: “The most interesting and frightening and scary”
Little did author Thomas Harris know when he first wrote the character of a psychiatrist-turned-cannibal that he’d end up creating a pop culture icon, but it wasn’t until Anthony Hopkins became the second actor to play the role on-screen that Hannibal Lecter took a bite out of the public consciousness.
Michael Mann’s overlooked 1986 thriller Manhunter got there first with Brian Cox playing the part of Hannibal Lecktor, but it was five years later that Jonathan Demme’s The Silence of the Lambs exploded onto the scene, swept the ‘Big Five’ categories at the Academy Awards for only the third time ever, and rewarded Hopkins with the ‘Best Actor’ prize for his unforgettable performance.
Naturally, Hollywood sniffed franchise potential in the air and proceeded to run the property into the ground through substandard sequel Hannibal, unnecessary prequel Red Dragon, and even more unnecessary (and Hopkins-less) prequel Hannibal Rising before Bryan Fuller did a stellar job reinventing the charismatic killer with Mads Mikkelsen in the three-season psychological thriller series, even if the (Hannibal-less) prequel show Clarice was canned after one season.
The magic of The Silence of the Lambs was never recaptured, but there was hope that Red Dragon could have hewed more to the first instalment in the trilogy than the second, especially with a top-notch ensemble cast on board. Brett Ratner was never a great director, but having Hopkins on board alongside Edward Norton, Ralph Fiennes, Harvey Keitel, Philip Seymour Hoffman, Emily Watson, and more was a good place to start.
It was definitely better than Hannibal, but The Silence of the Lambs? No chance. Still, that didn’t dissuade Hopkins from trying to persuade the BBC otherwise, even if it reeks of contractual obligation that he was trying to paint the third chapter as being superior to both of its predecessors.
“I actually think it’s the best of the three. I think Red Dragon is the most interesting and frightening and scary,” he suggested. “I think what’s interesting is the way the investigator Will Graham seems to get into the mind of the killer and also the forensic stuff that goes on. Forensic science interests me a lot.”
Unfolding first chronologically, Hopkins “tried to play him differently than I did in the other two films,” with the star wanting to portray Lecter as “so much angrier.” In Red Dragon, “he’s furious with Ed Norton’s character about being locked away and would destroy him if he could,” which he tried to channel in his performance.
|
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5824
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dbpedia
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1
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https://filmfisher.com/hannibal/
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en
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Film Fisher
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[
"Timothy Lawrence"
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2016-01-04T08:30:13+00:00
|
When we first meet Will Graham (Hugh Dancy), the protagonist of Bryan Fuller’s television series Hannibal, he is looking at the grisly aftermath of a home invasion, surrounded by FBI agents. Graham, a special investigator, closes his eyes and, accompanied by the visual cue of a golden light sweeping the screen clean, reverses time, erasing bloodstains, removing agents, and bringing the victims back to life. He then proceeds to reenact the crime scene in his imagination, describing his intentions and actions to us in detail. Fuller then reveals that Graham is lecturing, describing the crime to a classroom full of students at Quantico.
|
en
|
Film Fisher - Thoughtful movie reviews you can trust.
|
https://filmfisher.com/hannibal/
|
The Price of Imagination: The Danger of Empathy and the Aesthetics of Violence in Bryan Fuller’s “Hannibal”
When we first meet Will Graham (Hugh Dancy), the protagonist of Bryan Fuller’s television series Hannibal, he is looking at the grisly aftermath of a home invasion, surrounded by FBI agents. Graham, a special investigator, closes his eyes and, accompanied by the visual cue of a golden light sweeping the screen clean, reverses time, erasing bloodstains, removing agents, and bringing the victims back to life. He then proceeds to reenact the crime scene in his imagination, describing his intentions and actions to us in detail. Fuller then reveals that Graham is lecturing, describing the crime to a classroom full of students at Quantico.
This is an instantly uncomfortable headspace in which to introduce an audience to the ostensible hero of one’s story. Dancy’s tortured performance makes it clear that Will takes no pleasure in imaginatively assuming the role of a murderer. The fact that our protagonist is so unsettled by what he is seeing and participating in encourages the audience to feel likewise. While subsequent episodes of Hannibal will aestheticize and beautify their crime scenes to fascinating effect, this opening is more clear-eyed – stark, ugly, and brutal.
Based on Thomas Harris’ novels about now-iconic serial killer and cannibal Hannibal Lecter – most famously, Silence of the Lambs and Red Dragon, both of which have been adapted to film with varying degrees of success – Hannibal, with its dark, opaque style and elaborately gruesome violence, is an anomaly on network television. Much has been made of how the show’s existence on NBC was nothing short of a minor miracle, with critic Alan Sepinwall remarking, “I remain amazed that… Hannibal is even on television at all, let alone on a traditional broadcast network like NBC.” Unsurprisingly, despite near-universal critical acclaim, the series received consistently low ratings and was ultimately cancelled after its third season.
The premises of Bryan Fuller’s previous series, Dead Like Me and Pushing Daisies, betray a fascination with death and the way mankind deals with its inevitability. Hannibal is similarly preoccupied with death and the effects of violence on the human psyche. In fact, it is more concerned with the emotional toll of chasing serial killers than the killers themselves. Unlike other shows of its kind – frequent points of comparison include The Following, Dexter, and Bates Motel – Fuller’s series avoids exploitative violence to deliver something more thoughtful, melancholy, and psychologically astute. Instead, it uses the contrast between Will Graham and Hannibal Lecter (Mads Mikkelsen) to seriously ask how one should response to the reality of violence.
Will Graham and the Uncomfortable Gift
In “Aperitif,” Hannibal’s first episode, Alana Bloom (Caroline Dhavernas) and Jack Crawford (Laurence Fishburne) discuss the effects that working as an FBI investigator will have on Will Graham’s already unstable psyche. Jack speculates, “Will deals with huge amounts of fear. It comes with his imagination.” Alana clarifies, “It’s the price of imagination.” Throughout Hannibal, Will’s unique gift – a sort of unbridled empathy that allows him to get inside killers’ heads and understand their actions – is portrayed as a source of deep disturbance, manifested in increasingly unsettling visions and hallucinations. This is the key to the show’s success: that it sees the world through Will’s eyes. Grounding the story in Will as protagonist and hero is a large part of what keeps it from becoming exploitative or indulgent, giving moral context to the horrors on display. In many ways, Hannibal is not about Hannibal; relegating the iconic villain to a supporting role differentiates the series from the current trend of the television anti-hero drama, as seen in The Sopranos and Breaking Bad. Will may be deeply flawed, but he is fundamentally decent in a way that Tony Soprano and Walter White never were.
Throughout the series, Will and Hannibal exemplify differing approaches to violence. In “Aperitif,” Will is deeply disturbed by the actions of Garret Jacob Hobbs (Vladimir Cubrt), also known as the Minnesota Shrike, who kills young women resembling his daughter. Hannibal, in contrast, is fascinated by Hobbs, even going so far as to emulate him. Throughout the first season, Hannibal’s actions – imitating the crimes of the killers he and Will work together to apprehend – earn him the nickname of the Copycat Killer. However, Will’s imagination comes with a high cost. As Crawford and Hannibal push Will more and more towards the darkness that mankind is capable of – unintentionally on Jack’s part, intentionally on Hannibal’s – he becomes increasingly concerned about his own capacity for evil. “It’s getting harder and harder to make myself look,” Will tells Jack in “Coquilles,” the first season’s fifth episode. “This is bad for me.” His ability to identify with killers makes him fear that he is capable of becoming one, and Hannibal attempts to push him towards this outcome.
Empathy is highly prized in modern culture and art, but Will is faced with the possibility that unrestrained empathy can lead to compromise of his values. He uses his imagination to do good – Jack frequently reminds him that he is saving lives – but at the same time, it is a weakness that Hannibal can exploit. Will’s disgust with the murders he investigates is compounded by a fear that he will begin to enjoy and participate in the violence he witnesses. In the climax of “Aperitif,” Will kills Garret Jacob Hobbs, saving the life of his daughter Abigail (Kacey Rohl). Although most series would hardly blink at such a development – the righteous killing of evil men is typically celebrated without question in American culture – Fuller devotes a great deal of the series’ first season to dealing with Will’s internal fallout over his actions. He reveals to Hannibal that killing Hobbs felt good, and Hannibal, in turn, tries to nurture Will’s ability to be a killer. In an interview with Alan Sepinwall, Fuller explains, “Based on [Hannibal’s] philosophy of life, getting Will to accept the fact that he is a murderer and could take a life will actually help him become a purer human being.” This may be the series’ most vital dramatic and thematic dilemma: is Hannibal right about Will’s innate ability to kill, or is Will fundamentally good? From this question arises another: can immersing oneself in darkness change them, or does it merely reveal darkness that was already within them?
Hannibal Lecter and the Loneliness of Evil
In his review of Jonathan Demme’s film adaptation of Silence of the Lambs, Roger Ebert writes, “A fundamental difference between The Silence of the Lambs and its sequel, Hannibal, is that the former is frightening, involving and disturbing, while the latter is merely disturbing… The secret of Silence is that it doesn’t start with the cannibal—it arrives at him, through the eyes and mind of a young woman.” Similarly, presenting the series primarily from Will Graham’s point of view sets a respectful distance between Hannibal Lecter and the audience, placing his actions in a larger moral context. At the same time, Hannibal seeks to explore why people – both viewers and characters within the show – are drawn to its titular character. In doing so, it renders Hannibal Lecter attractive: he is urbane, sophisticated, and charismatic. Although Fuller is careful to remind the viewer of Lecter’s evil, he also seeks to involve the audience in that evil’s seduction of Graham. The unintended result is that, as with Walter White of Breaking Bad, some fans of the series idolize Lecter unduly, missing or ignoring the moral context responsibly provided by the author. Early episodes of season three, focusing on Hannibal without Will’s balancing influence and delving into his backstory, may seem to lose the moral perspective that clarified Fuller’s view on the character in earlier seasons. However, Fuller is careful not to justify Hannibal’s actions through his backstory. “I accept what Hannibal has done,” Chiyoh (Tao Okamoto) tells Will in the season’s third episode, “Secondo.” “I understand why he has done it.” Will rightly replies: “Mischa doesn’t explain what Hannibal is. She doesn’t quantify what he does.” Later, Hannibal himself reiterates the point: “Nothing happened to me. I happened.” While another show might try to explain away an anti-hero’s actions by delving into his past, Fuller refuses to excuse Hannibal Lecter. However, at the same time, he humanizes Hannibal through Will’s interactions with him. As Will grows closer to Hannibal and begins to care for him, the audience follows him. The audience has a fuller understanding of the scope of Lecter’s evil than Will does, but is so immersed in Will’s headspace that they may sympathize with him. This unresolved tension – between the reality of Lecter’s evil and the sympathy and fascination afforded by Will’s perception of him – is present throughout the series, as the audience shares Will’s deeply conflicted emotions about Hannibal. One can view Will’s arc as a cautionary tale of how the subjectivity of empathetic perception can corrode one’s moral compass.
While Will is characterized by his empathy, Hannibal is defined by isolation. This solitude is brought on by his own hubris; by believing that he is superior to everyone else, Hannibal forsakes the ability to relate to anyone. Early in season three, he coolly explains to one of his victims, “It’s only cannibalism if we’re equals.” However, Hannibal is fascinated by Will precisely because of his empathy. In Will, he sees someone who can truly know and understand him. His efforts to coerce Will into becoming a killer are rooted in curiosity – “You were just curious to see what I would do,” Will says upon discovering Hannibal’s true motives in “Savoureux,” the finale of season one – but also in a deep sense of loneliness. Throughout season one, Hannibal seeks to construct a sort of makeshift family, with himself and Will acting as surrogate fathers to Abigail Hobbs. His lack of empathy contrasts sharply with Will’s excess, but the two are drawn to each other, implying that neither mindset can function properly alone. Will must curb his empathy in order to block Hannibal’s influence, while Hannibal’s aloofness renders him haunted by isolation. In “Mizumono,” the finale of season two, Hannibal, visibly hurt for the first time, tearfully berates Will for betraying his trust: “I let you know me. See me. I gave you a rare gift, but you didn’t want it.” Hannibal is motivated by a recognizably human, universal longing: to be truly known by another person. However, he is simultaneously stymied by his own distance from anything truly human.
Perception, Intertextuality and the Aesthetics of Violence
Will’s empathy and Hannibal’s loneliness are both responses to perception of violence and darkness. The motif of sight and perception is highlighted by the recurring use of the phrase, “See?” The first occurrence of this line is in “Aperitif,” when a dying Garret Jacob Hobbs whispers it to Will. Later episodes clarify that Will is “seeing” what it feels like to take a life, and in this sense, shares a certain discomfiting kinship with Hobbs. The theme is hammered home in other ways – close-ups on eyes are a staple of the series’ visual style. Another striking example comes in the opening episode of season two, in which a killer arranges the bodies of his victims to create a massive human mural shaped like a giant eye. When Hannibal climbs to the top of the silo in which the mural is located, the eye stares up at him – a subtle but potent reminder of the dark things eyes look at in this series.
Hannibal implicates the viewer in its questions of perception throughout its run, but nowhere more viscerally than in the second half of its second season. As Will returns to therapy with Hannibal in an attempt to expose him, the series itself becomes unmoored from reality, instead immersing the viewer in Will’s increasingly disoriented and emotionally confused mind through surreal imagery and atmosphere.
In the opening episode of season three, Bedelia du Maurier (Gillian Anderson) intones, “You no longer have ethical concerns, Hannibal. Only aesthetical ones.” Throughout its run, Hannibal finds beauty in unlikely places, thanks to a lush visual style used by directors such as Guillermo Navarro, cinematographer of Pan’s Labyrinth. This ties into what may be the series’ most important theme: the fear of how one is shaped by what they see. By presenting violence as something aesthetically pleasing – as Hannibal does with his victims, preparing them as enticing-looking meals – Hannibal alternately entices and repulses its audience, prompting them to wrestle with their own responses to the darkness on display.
Hannibal consciously recalls the way violence has been aestheticized in art throughout human history, pondering – often quite pointedly – whether or not the potential for evil is something innate to the species. Fuller and other members of the creative staff, along with television critics, have variously compared the show’s images to, as Vulture’s E. Alex Jung puts it, “Italian Renaissance paintings; Italian horror cinema, like Dario Argento’s Opera; Hélène Cattet; Bruno Forzani’s This Strange Color of Your Body’s Tears; Patricia Highsmith; and a ‘pinch of Alfred Hitchcock.’” The musical choices also emphasize the show’s emulation of and connection to classical art: Hannibal is fond of Bach’s arias. In season two, Hannibal mentions Homer’s Iliad, comparing himself to the epic hero Achilleus. Incidentally, Fuller’s casting of Hannibal in the role of epic hero is analogous to Milton’s portrayal of Satan in Paradise Lost, which adds further depth to the way characters frequently describe Hannibal Lecter as the devil – but that is beyond the scope of this paper. In the end, Hannibal’s incorporation of classical art is another way to get at its core thematic question: beyond the current trend of serial killer shows, why is human art so fascinated by violence and cruelty?
Ultimately, Hannibal seems to suggest that art is a way to make sense of violence. In an interview with Alan Sepinwall, Fuller (2013) describes the creative process behind the show’s grisly yet beautiful crime scenes: “[we’re] constantly looking for, ‘What is the poetry of the murder? What is the art of the murder?’ …The more real the murder is, the less interested I am in seeing it. It’s hard enough to watch the news… [t]he only way to write this show is to give the villains a larger than life, operatic quality.” Fuller’s philosophy is to distance the violence of the show from reality in order to better process it and make sense of it by aestheticization. The danger is that aestheticization can belie the true weight of violence, and in turn entice the viewer into becoming a vicarious participant. This is the dilemma inherent in the show’s presentation: it simultaneously draws one in and warns them away. This is catharsis in its purest definition: the vicarious experience of, and release from, emotion. Yet, as Hannibal cautions, imagination comes with price.
In its finale, Hannibal resolves the dilemma of violence and empathy in a catharsis that is deeply unsettling, suggesting that to immerse one’s imagination in violence is self-destructive and potentially inescapable. Will Graham and Hannibal Lecter, beset by the deranged killer Francis Dolarhyde (Richard Armitage), work together to murder their attacker. The act involves the audience in a way the show never has, finally coercing them into rooting for Will and Hannibal to kill. This bloodbath, as inevitable as it is cathartic, finally brings Will and Hannibal together, uniting the two opposites – but this mutually destructive union cannot last, as Will embraces Hannibal before hurling both men over the edge of a cliff to their presumed deaths. In the end, Hannibal is only able to resolve the conflict between empathy and violence by embracing both.
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https://deadline.com/2023/11/denzel-washington-hannibal-the-conqueror-movie-casting-netflix-1235598402/
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Denzel Washington To Play Hannibal, Carthaginian Warrior Who Attacked Rome Atop Elephant; Reteam With Antoine Fuqua At Netflix With Script By ‘Gladiator’s John Logan
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"Mike Fleming Jr"
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2023-11-13T17:15:00+00:00
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Denzel Washington Carthaginian General Hannibal attacked Rome atop elephant Antoine Fuqua directing Netflix Gladiator screenwriter John Logan
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en
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Deadline
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https://deadline.com/2023/11/denzel-washington-hannibal-the-conqueror-movie-casting-netflix-1235598402/
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EXCLUSIVE: Now that the SAG-AFTRA strike is ending, why not come out with elephant-sized ambition? Netflix has attached Denzel Washington to play the ancient Carthaginian general Hannibal in an untitled epic drama that will reteam him with Antoine Fuqua for Netflix. That reunites back star and director who first teamed on 2001’s Training Day — Washington won the Oscar for that turn — and they most recently made the third installment of the Equalizer franchise.
John Logan, the three-time Oscar-nominated The Aviator and Hugo scribe who knows his way around a sword-and-scandal saga with Gladiator, is writing the script. Fuqua, Washington, Erik Olsen and Adam Goldworm will produce. Jeremy Lott and Frank Rodriguez Moll exec produce.
For Washington, the development brings back a project that he wanted to star in more than 20 years ago, but Fox wanted to make it at a time when Washington didn’t want to be away from his kids for an extended period. They now are making their own paths in Hollywood, so it seems a better time to get so ambitious.
Atop an elephant, Hannibal came over the Alps and attacked Rome from the North, at the time posing the greatest threat to the republic. Hannibal was a skilled military tactician who led the troops in what is now Tunisia, not far from Sicily. His military victories during the Second Punic War are legend, and the story of Hannibal is something Hollywood has been intrigued by for decades — Vin Diesel was attached to a rival pic — and few stars have the bankability to make the costly project worthwhile.
This version of the film will follow the pivotal battles Hannibal led against the Roman Republic during the Second Punic War (218-201 B.C.). The film falls under Fuqua’s production company, Hill District Media’s, first-look deal with Netflix.
Washington is set to return to production on another major period tentpole with Ridley Scott’s Gladiator 2, set to restart production shortly and dated for Thanksgiving 2024.
Washington is repped by WME and Fuqua is repped by LBI Entertainment and WME. Lott & Moll are both repped by Aperture Entertainment, and individually by Goodman Schenkman and Myman Greenspan and Olsen is repped by Tifanie Acosta at Entertainment Law Partners.
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https://alexonfilm.com/2016/05/29/hannibal-rising-2007/
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Hannibal Rising (2007)
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2016-05-29T00:00:00
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*. There have been a lot of Hannibal Lecter movies. In order of their release they are: Manhunter, The Silence of the Lambs, Hannibal, Red Dragon, and this one. Then the character was turned into a short-lived television series. Quite a surprising run, when you think about it. *. I'm on the record as saying I don't think…
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en
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https://s1.wp.com/i/favicon.ico
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Alex on Film
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https://alexonfilm.com/2016/05/29/hannibal-rising-2007/
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*. There have been a lot of Hannibal Lecter movies. In order of their release they are: Manhunter, The Silence of the Lambs, Hannibal, Red Dragon, and this one. Then the character was turned into a short-lived television series. Quite a surprising run, when you think about it.
*. I’m on the record as saying I don’t think any of Thomas Harris’s Lecter books are very good. In fact, they’re trash. But Silence of the Lambs rose so far above its base origins, and so far eclipsed Manhunter, that it deserves to be regarded as the real beginning of the franchise anyway.
*. So much for the background to this absolutely worthless, repulsive piece of garbage.
*. Apparently Harris wasn’t keen on returning to Hannibal, but felt pressured by De Laurentiis (who threatened to have someone else write a prequel). So we have a novel and screenplay coming to us courtesy of a tired and somewhat reluctant hack. That’s getting off to a bad start.
*. According to the DVD commentary Harris insisted on writing the screenplay this time out. I can’t imagine why. Whatever the reason, the results are terrible. The structure is awkward as hell (a twenty-minute prologue?) and the dialogue is awesomely bad. Poor Gong Li, a Chinese actress again pressed into playing a Japanese woman (the all-purpose Asian), gets saddled with the worst of it. “Be gentle, Hannibal. And be brave. Like your father.” Or “You smell of smoke and blood” (I guess it must have really gotten into his clothes). Special note, however, has to also be taken of Grutas telling Lady Murasaki that he knows her “asshole will look just like a violet.” Am I missing something? What does that even mean?
*. The next ingredient was finding a director, which involved a truly bizarre decision. Peter Webber came to the project from Girl with a Pearl Earring, a well-received film that would not have first made me think of the Hannibal Lecter franchise. Or made me think of Hannibal at all.
*. Production designer Allan Starski says the plan was to mix action-horror with art house, which might have seemed like a good idea but turned out not to work. This movie is expensively produced but far less stylish than any of the other Hannibal films (including the post-disco era Manhunter). For that matter, it’s less stylish than the TV series Hannibal too. There’s a difference between a film that looks expensive and one that looks great. The Silence of the Lambs had some of the best production design I’ve ever seen and it was done on a shoestring.
*. So we have a lousy script and a director who doesn’t seem to have any affinity for the material at all. Could things get worse? They could.
*. For the record, I don’t mind a bit that Gaspard Ulliel doesn’t look, or sound, even remotely like someone who is going to grow up to be Anthony Hopkins in another forty years (though according to producer Martha de Laurentiis finding a match was “paramount” in casting and they thought they’d got it with Ulliel). That’s fine. What I do mind is that he’s so damn hard to look at. And yes, I know he’s a professional model. Maybe that’s the problem. What’s with that sneer? Is that his Blue Steel? Where is his character’s urbanity and charm? This Hannibal is just a nasty prig.
*. On the commentary Webber remarks how people were somewhat confused as to who the gang of baddies were and what they were all about. I shared that confusion. They are native Lithuanian . . . mercenaries? Partisans? Bandits? Apparently the correct historical label is Hilfswilliger, or “Hiwi” for short. This mean they were German volunteers, though they seem like total freelancers to me.
*. Later we’re told they’re war criminals (“cannibalistic Nazis” in the words of Webber on the commentary, though unlike the mature Hannibal none of them are cannibals by choice). It’s also said that they were judged at Nuremberg, from whence they “walked free.” I can’t understand why any of these hoods would have been at Nuremberg, but I guess this reference was just thrown in as a way of identifying them as Nazis.
*. They aren’t Nazis, but this film is a good example of how the history of the Second World War has come to be rewritten in popular culture (especially film). What I mean is that WW2 has been translated into a global conflict whose main, perhaps only, larger meaning was a struggle against the forces of anti-Semitism. This it certainly was not, but the Holocaust has since been enshrined as the central generative fact of postwar Europe and Hannibal Rising is just one example of what it generated.
*. Quentin Tarantino got a lot of press on the release of Inglourious Basterds, particularly in an article about that film appearing in The Atlantic by Jeffrey Goldberg titled “Hollywood’s Jewish Avenger,” for being a type of the Jewish revenge fantasy. That label, as a term in film criticism, goes back to Pauline Kael’s review of Marathon Man, and can be interpreted more broadly as referring to films about Jews taking a violent revenge on Nazis. Taken to a brutal extreme it becomes what Eli Roth, quoted in Goldberg’s essay, calls “kosher porn” (a riff on “torture porn,” one assumes).
*. Hannibal Rising is kosher porn. And there’s nothing wrong with such fantasies in a context where they apply — as in Marathon Man or Inglourious Basterds. Here, however, it seems an odd fit. I don’t think Lecter is Jewish. And yet anti-Semitic persecution is a theme that’s returned to again and again in the film, with material and information that is totally extraneous to the plot. A Jewish man is murdered at the Lecter castle in a bit of ethnic cleansing at the beginning of the film, the gang of Hiwis are sent to Nuremberg, and we see a French collaborator being executed after confessing to shipping Jewish children to Auschwitz. The lair of the bad guys looks, improbably, a little like the Eagle’s Nest. Hell, even the French butcher is fair game because he’s a racist and, as we later find out, a Vichy collaborator as well (he also “shipped Jews from Marseilles”). Nazi: check. Off with his head!
*. Are Nazis the only historical villains, at least from this period, that Hollywood can even imagine any more? It’s one thing to say all Nazis were bad guys, but to say that all bad guys must be Nazis seems to me to be taking things too far.
*. The upshot of all of this is that Hannibal is made over into yet another Jewish avenger. Aside from the shoehorning problem (a Jewish avenger movie without any Nazis, or Jews), this also has the effect of making him into even more of a hero. Indeed, pretty much any trace of Hannibal as a great screen villain (much less a monster) has disappeared. Even as a child Hannibal upsets the “normal human pecking order” in a noble way by taking on the school bullies. And of course later we are meant to cheer as he dispenses rough justice on the gang of pseudo-Nazi trash, because even if he isn’t a survivor of the Holocaust his experience was sort of, kind of, similar. He lost his family too, you see.
*. What the hell are a bunch of Lithuanian grunts doing as Mafiosi in France after the war anyway? That seems more than a bit unlikely.
*. In any event, the resulting carnage plays out like a tony version of I Spit on Your Grave. The only interest generated is in seeing how Hannibal is going to kill his victims, and how much torture they’ll have to endure before finally being finished off. Torture porn is at least meant to be disturbing: we aren’t supposed to approve of people being dismembered and butchered. But here we’re asked to enjoy it, to identify with Hannibal and not his victims, who are all subhuman.
*. I like Dominic West, but what is he doing in this film? Inspector Popil doesn’t serve any function. He’s a composite of several characters in the book that doesn’t add up to one good part.
*. In general, directors really know their movies. So what does Webber mean when he compares two scenes here (the rope decapitation and the fight in the kitchen) to a Sergio Leone Western? The presence of a noose? The use a lot of close-ups? I don’t see any connection at all. I’m also baffled by his claiming that the direct overhead shot in the forest is a steal from the scene where the scientists discover the spaceship in the ice in Howard Hawks’s The Thing from Another World. I would have never thought of that, and even with him pointing it out I still don’t see it.
*. My DVD box has a pull quote on the front from Pete Hammond of Maxim magazine calling Hannibal Rising “an absolute shocker in every way imaginable.” This surprised me so much (is it shocking in any imaginable way?) that I went looking for the full review online to see if it made more sense in context.
*. I couldn’t find the review but I did find a bunch of stuff on Hammond, who apparently had quite a reputation as a “blurb whore” in the industry, often being asked for advance praise to run in advertising spots. He also set off a bit of controversy with regard to another line from his review for this movie when what he said was changed to be more “family friendly” for a television ad (“terrifying” was switched to “electrifying”). According to reports, The Weinstein Company worked together with Hammond on the altered quote. According to the same reports this is actually a common practice, and some studios even suggest exact quotes to reviewers before they see the movie.
*. So I guess you have to take some of those blurbs with a very generous dose of salt indeed. Some time after this, Hammond was let go by Maxim. I can’t say I blame him that much for all the controversy. This was his job. He says his “reviews” were limited to 30 words anyway, and had to be positive as per editorial guidelines. So basically he was being asked to write blurbs.
*. But back to the movie. Why is it so very bad? This may be the biggest problem: Anthony Hopkins’s Hannibal in The Silence of the Lambs was named by AFI as the number one film villain of all time and Hopkins went on to win an Academy Award despite only appearing on screen for about fifteen minutes. Great villains don’t need a lot of screen time, and indeed I think an argument could be made that they shouldn’t be on screen very much.
*. The other Hannibal movies rightly focused on Clarice Starling and Will Graham (which was presumably the role Popil was going to have here, but as noted he is made superfluous). This is the first film in the franchise to jettison the formula and make Hannibal the hero and central character. Indeed he’s in almost every scene.
*. In hindsight we can see this was a mistake. Peak Hannibal had already been crossed and this was a film too far. Much too far. Pray this is the end.
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Robot or human?
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Activate and hold the button to confirm that you’re human. Thank You!
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The 30-Year Evolution of Hannibal Lecter
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"Scott Meslow",
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2016-08-11T08:30:00-04:00
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As 'Manhunter' celebrates three decades, here's a deep-diving history of everyone's favorite cannibal.
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en
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https://www.gq.com/verso/static/gq/assets/favicon.ico
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GQ
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https://www.gq.com/story/30-years-of-hannibal-lecter
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Thirty years ago this week—in a film that was widely recognized as a commercial flop upon its release—moviegoers first made the acquaintance of Dr. Hannibal Lecter, the Greatest Villain in Cinema History.
You don’t need to take my word on that. That lofty title was bestowed upon Hannibal by the American Film Institute, which ranked the character above Norman Bates, Darth Vader, and the Wicked Witch of the West in a 2003 survey. But while each of those also-rans have long since been strip-mined by popular culture—in Bates Motel, the Star Wars prequels, and Wicked, respectively—their initial impression is the one that has survived. Anthony Perkins' deranged smile. James Earl Jones' booming "I am your father." Margaret Hamilton wailing as she melts. But Hannibal is something different: a villain whose most celebrated appearance came years after his initial introduction, and whose long-term legacy is still an open question.
Hannibal made his debut in Michael Mann's Manhunter, where his last name is spelled "Lecktor" in a pointless deviation from the novel. (It's a philosophy that also extends to the movie’s title, which swaps out Thomas Harris' Red Dragon—presumably out of concern that audiences might mistake it for a fantasy film—in favor of the ultra-generic Manhunter.)
The role of Hannibal was originated by Brian Cox, whose performance embodies the banality of evil. Balding, a little portly, wearing all white in an all-white cell, Cox's Hannibal is a vicious cannibal killer whose teeth seem to have been pulled out long before the story began. There’s nothing particularly intimidating about him; if I had to describe the character in one word, I’d probably go with "fussy." But that non-threatening demeanor is a long con, played on the audience by Cox's performance and Mann's direction. As soon as Hannibal gets the chance, he attempts to manipulate a disturbed serial killer into murdering Will Graham, the movie's protagonist.
But despite the key role he plays in the narrative, the most interesting thing about Manhunter's Hannibal is how much he fades into the fabric of the movie. Mann's interests clearly lie in the coiled intensity of Will Graham and the deep psychosis of the man he spends the movie hunting—Francis Dollarhyde, who bristles at the nickname "Tooth Fairy" because he thinks of himself as a dragon. On a blind viewing—without any knowledge of the pop-cultural prominence to which Hannibal would eventually rise—he might not make much of an impression at all.
And while Harris' literary sequel to Red Dragon was published just two years after Manhunter arrived in theaters, the film's box-office failure might have snuffed out the Hannibal franchise before it began. Instead, Manhunter's failure served as an unlikely asset. Because so few people had seen Cox's interpretation of Hannibal, director Jonathan Demme had the license to completely reinvent him.
The Silence of the Lambs was Hannibal Lecter's real coming-out party, and the one that still looms largest in most people's minds. Anthony Hopkins' more theatrical take on Hannibal became an instant pop-cultural phenomenon, netting him a Best Actor Oscar for a role that would undoubtedly be considered a supporting performance if it didn't tower over the rest of the movie. (It's also, incidentally, the specific performance the American Film Institute was citing when it declared Hannibal the greatest villain ever.)
Hopkins' performance has been parodied over and over again since The Silence of the Lambs arrived in theaters, but in context, it remains a powerful and menacing performance. His smirky, unblinking Hannibal feels larger than life, and Jonathan Demme's camerawork makes him seem even more grandiose, letting his bug eyes dominate the frame and allowing him to loom over his victims as he escapes his captivity. It's a performance that cannily seduces the audience into liking Hannibal without ever letting us totally forget that he's a vicious, cannibalistic killer.
Unfortunately, Hannibal became the victim of his own success; for all the parodies, no one did as much damage to The Silence of the Lambs' legacy as Anthony Hopkins. 2001's Hannibal, which put the character at the center of the narrative for the first time, is a ludicrous fiasco of a movie (which, to be fair, is adapted from a ludicrous fiasco of a novel). As it turned out, there was a good reason Hannibal Lecter lurked on the sidelines of his first two cinematic appearances; in the spotlight, Hopkins' colorful performance began to feel cartoony, and a slew of narrative missteps culminated in a film that shifted Hannibal from a mesmerizing villain to an unconvincing hero. The growing malaise was only compounded by Hopkins' final performance as Hannibal—Brett Ratner's wildly unnecessary adaptation of Red Dragon, in which Hopkins chews so much scenery that it starts to feel like a retroactive parody of his finely calibrated work in The Silence of the Lambs.
Clearly, it was time to take the character in a new direction. Unfortunately, the direction they chose is the dumbest one you can possibly imagine. Hannibal's ill-advised transition from side villain to main hero reached its logical but unfortunate conclusion with the prequel Hannibal Rising, which gives Hannibal a Batman-esque origin story. Adapted from the novel of the same name—which Thomas Harris only wrote because producer Dino De Laurentiis threatened to make it without him if he didn't get to work—Hannibal Rising is a disaster that embodies all the worst qualities of a prequel. We get the story behind everything: his intellect, his cannibalism, even the mask. Played, as you definitely don’t remember, by a bland French dude named Gaspard Ulliel, Hannibal is utterly demystified by Hannibal Rising. By the end of the movie, it's not just that the whole Hannibal story had been told; it's that the whole story had been so over-told that it felt like there would never be a need for a Hannibal story again.
And then came Hannibal, the gorgeous, gory NBC series that managed to bring Hannibal back from the dead. The brilliance of Hannibal's approach to the character was in remixing and elongating one of the few parts of the Hannibal Lecter story that hadn't been told: the time immediately before his capture, when he worked alongside Will Graham before anyone knew he was a cannibalistic killer. Showrunner Brian Fuller found the ideal actor to reinvent Hannibal: Mads Mikkelsen, who opted to play him as if he were literally the devil. It's a Hannibal designed to erase all the preconceptions audiences might bring to the character, and while the show's ratings were always terrible, it was a creative triumph; by the end of the series, I'd argue that Mikkelsen's reinterpretation—wry, brilliant, epicurean in his tastes, and terrifying in his capacity to wreak physical and psychological violence—had far exceeded Hopkins'.
But while the cancellation of Hannibal meant the end of the character's 30-year reign of terror, there's little doubt he'll come back again eventually. Having weathered such a long and fallow creative period can be a blessing in disguise; if Hannibal can survive the worst, he'll be that much harder to kill. When asked about Hopkins' take on Hannibal, Brian Cox shrugged off the comparison: "It’s like comparing two Hamlets, or two Lears." That might sound a little grandiose—but if 30 years of history has shown us anything, it’s that there’s just as much room for an actor to make Hannibal his own.
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https://courseofhorror.wordpress.com/category/horror-movies/
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The Course of Horror
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2023-11-19T14:18:02+00:00
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Posts about Horror Movies written by ginabrandolino
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en
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The Course of Horror
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https://courseofhorror.wordpress.com/category/horror-movies/
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By: Nic Kodkany
Despite the fact that I was an enormous wuss-puss as a child who could literally not handle the Harry Potter films for its ghosts and giant spiders, the children’s horror film Coraline was and remains one of my favorite films ever. Imaginative animation, dark, whimsical scenes, a relatable yet sardonic protagonist, and a talking cat all in one emotion-packed whirlwind makes it an incredibly memorable watching experience for not just children, but adults alike. The main conflict of the film – Coraline having to choose her place in two polarizing worlds, the dull reality with her busy, uninterested parents and the vivid wonderland version of her home with equally fantastical parents – follows a theme that many children’s films aim to encapsulate: the “be careful what you wish for” lesson that is old as time itself. As a child, I never cared much for this advisory theme, but Coraline did an excellent job at drilling that lesson in because it tugs on the heartstrings that kids deny having as they grow older – the heartstrings of love for one’s parents. The greatest part of the film is the polarity of Coraline’s real parents and her Other parents, primarily her mother and her Other Mother because it encapsulates the imagination that children stray into versus the home they cling to in comfort.
I loved the Other world so much that I would have likely thrown Coraline out of the way and sewn buttons on my eyes at the chance of perusing a fantasy version of my home. I will give an important disclaimer: I love my parents very much, and they love me too! Yet I identified strongly with Coraline’s personality as a child; bored with myself and irritated at the world around me for being so boring, I loved annoying my parents for something to do as they worked and dreaded my whining. Watching Coraline, I wanted to crawl through the mesmerizing violet and blue portal into a new, colorful, exciting world that was familiar yet so full of fantasy. I watched the dinner scene and craved a mango milkshake that descended from the dining room chandelier. The Other mother lured me just as she did to Coraline with her soothing voice and enthusiasm to entertain her child; I wanted to walk through the gardens with dragonflies and glowing flora next to my Other father. As children, we do not care about why our real parents cannot always give us fantasy; with an undeveloped theory of mind, we are egocentric and want our parents to devote themselves to our every creative want. This is why the Other Mother’s character is so genius; her hunting method is to find lonely, bored children and lure them into a world of magic and wonder combined with unconditionally warm and fun parents who would give them anything they ask. Children could look past so many warning signs – friends’ mouths sewn shut, creepy identical dolls that watch you, to name a couple – to have what the Other Mother gives, which is why she has been able to survive for so long, and why Coraline is a unique protagonist for her sharpness and bravery.
Yet towards the second half of the film, after the Other Mother’s evil is revealed, I felt so much emotion for my parents because Coraline delivers a message of life’s balance: when things go up, they must come down too. Furthermore, the balance of the natural world reinforces that things can always be too good to be true. In the video attached, we watch Coraline sleep next to pillows she constructs to look like her parents after the Other Mother abdubts them. I still feel overwhelmingly sad watching that scene because I feel that childlike yearning for my parents; Missing your parents when they are not there is a helpless, scary, and isolated feeling for a child. The deep pit of regret that Coraline feels for taking her parents for granted here drew a feeling of emptiness in me as a child as I pictured sleeping in my parents’ bed without them. Coraline’s regret teaches the watching children that their parents may not be everything they want, but that they are the unconditional providers of protection and warmth, especially in such vulnerable points as Coraline’s throughout the film. While Coraline’s mother is curt and apathetic in the beginning, which is the source of Coraline’s contempt, it becomes evident that Coraline traded these mild flaws for a much greater consequence: losing her mother to a disguised monster. Even picturing losing my mother made me cry dramatically as a child, so this turning point of the film was horrifying to me, and the film drove me to accommodate my selfish dreams in the promise that I could keep my mother. Over a decade later, I am in a new world of freedom and excitement in college, but I call my mother every day because Coraline taught me never to take her for granted in the light of something new and exciting.
By: Madeline Weekley
When asked what my favorite horror movie is, I hesitate to say The Purge. I feel like it’s a lowbrow response, especially with the existence of such well-thought-out horror movies like Get Out and Midsommar. The characters in The Purge are objectively flat, the acting is nothing special, and the dialogue is cheesy. Yet, I am fascinated by the films, and I continue to watch and enjoy each one in the series. I couldn’t understand what pulled me into these films and left me thinking about them for weeks after a first watch. That was until I realized what makes The Purge franchise entirely unique — its genre.
For those who haven’t seen any of The Purge movies, they revolve around a government-sponsored night where all crime is legal for 12 hours. They use different sets of characters in each movie, and there are typically three separate groups of characters that the movie switches focus between as the deadly night plays out. It always ends with a lot of people dead and a few main character survivors.
The Purge falls into a rare and special category which I refer to as realistic dystopian horror. It is a genre that does not technically exist. I define it as a movie that depicts a society different from our own, one that has the capability to exist, with the same slasher and horror aesthetics as classic horror films.
To further explain, The Purge falls between two different common genres. The first is realistic dystopian that doesn’t classify as horror and the second is dystopian horror that contains fantasy and is therefore unrealistic. Some films that fall into the first genre include The Hunger Games and The Handmaids Tale which are, unsurprisingly, my favorite motion pictures. Films in the second genre would be any movie where the world is overcome by zombies or some type of alien group.
This realistic dystopian premise is what makes The Purge movies so unique. I don’t care about the characters. I don’t even remember their names. The concept that the government makes crimes legal is obviously far-fetched, but it is possible. When I watched the movies, it made me genuinely wonder what would happen if our government sanctioned such a horrific event. Where would I hide? Who would I trust? Which people in my life might go out and purge? These thoughts kept me engaged during the movie and long after.
Additionally, The Purge franchise explores socioeconomic issues and politics in a way that makes subtle commentary on our modern world. In The First Purge, the plot revolves around a political organization offering $5000 for anyone willing to participate in the first purge experiment. It is mainly underprivileged people who risk their lives by accepting this offer. In other Purge movies, rich people pay money to kill poor people. The films also highlight the differences between the security systems of a wealthy family versus a poor family. The gaps in privilege are made clear, and I think this focus on politics and relationships between socioeconomic classes makes this movie deeper than many people realize.
A lot of people disagree, however, and cannot move past the seemingly repetitive plot line throughout the movies and the shallow dialogue. A review on IMBD by “Wubsthefadger” rated the movie a 4/10 and said, “the story is full of clichés such as stupid teenage kids, bad decisions, and clueless villains.” To that I say, exactly. The world is full of those things too. The Purge movies are about how American citizens would respond if given the opportunity to commit crimes without legal repercussions. There are plenty of clueless villains and stupid teenagers in America, so of course that is who is shown in the movie. I appreciate the realness of the characters and the bad choices they make.
In fact, I love the authenticity of the concept itself. The American government makes lots of questionable decisions, so maybe the movie is not as far-fetched as it appears. I’m not saying that they would hold an actual purge, but the fact that it’s not impossible makes The Purge movies that much more horrifying and intriguing. The rarity of the genre itself allows me to look past any cliches or acting flaws and enjoy the continuous question of “what if” that the realism of the movie franchise proposes.
Works Cited
WubsTheFadger. Comment on “IMBD The Purge User Reviews.” IMBD, 12 February, 2018. https://www.imdb.com/title/tt2184339/reviews
DeMonaco, James. The Purge. Universal Pictures, 2013.
By: Riley Hodder
If you just gagged upon reading the title, then you are like most people I’ve encountered, and like most people, by the time I finish my argument, you’ll be at least somewhat convinced.
The Human Centipede is a Dutch horror film released in 2009, written and directed by Tom Six, and centering a sadistic Doctor who kidnaps three people and yes: he sews them together, mouth to anus.
To no surprise, this is where most people stop engaging with the film. And yet, I’ve found in my personal experience that most people have heard of the film. The film was even so popular that it garnered two sequels, significantly worse than the first, in my opinion: an honor usually relegated to iconic and critically acclaimed horror films such as Texas Chainsaw Massacre and The Nightmare on Elm Street. The film wasn’t even just a cultural icon, but an economic one as one, selling 55,000 DVD and Blue-Ray copies in the first week they were on sale. The movie has even earned its place on the streaming services: and is available to watch on Amazon Prime Video and and Apple TV.
But why? In my encounters with people, absolutely no one wants to talk about the movie, let alone sit down and watch one hour and 30 minutes of the movie’s gruesome plot. So here I am, standing on my soapbox, attempting to give you an explanation that you can be happy with.
To me, there are a few reasons why this film is so popular:
The gross-out
Many popular horror theorists regard revulsion, disgust, or as I like to call it, the gross-out, as an element of horror. That’s right, folks – not just a trope in horror movies, but a crucial element to the craft of horror. In fact, Stephen King said, while explicitly trying to avoid defining horror, includes revulsion in his definition:
“Terror on top, horror below it, and lowest of all, the gag reflex of revulsion.”
And yet we disregard the idea of the human centipede as a cheap-shot, we toss out the movie at the first sound of what it’s about. Didn’t Six just focus on the lower element of horror? Are we going to toss out the latter Saw films along with the human centipede?
And are we not even going to talk about the hold that Six’s idea has on us? The idea is so repulsive that we shudder, we physically react at even the mention of the movie, let alone the details of the plot. Isn’t that to be praised? Isn’t that to be respected? Isn’t that what horror writers all across the world are trying to do: to find that idea that is so terrifying, or so repulsive, that it just sticks with you?
Didn’t Six do that?
The thematic elements
Part of what got me on my defending-The-Human-Centipede-kick is the lovely podcast done on the subject by U-M alums and couple James Janisse and Chelsea Rebecca. In their podcast episode on the movie, the pair offer the movie what I feel it deserves: two people honestly viewing, and honestly reviewing it. And what they found is that the movie holds up under the microscope.
What is perhaps the most interesting thing about the movie, that Janisse and Rebecca notice, is a unique interaction between the main characters, which sets up a pretty interesting connection to the real world.
There are four central characters to the film: Dr. Heiter, our sadistic doctor, Jenny, our end, Lindsay, our middle, and Katsuro, the front. However, what one might notice is that Dr. Heiter is a German doctor, and he has chosen Katsuro, a Japanese man who only speaks Japanese, as the front. It doesn’t help, either, that the two women in the back of the centipede are American. And the film proves that this isn’t just a coincidence.
When Keiter lets his creation outside for the first time, he is holding a paper which he refers to as “The World,” which he tosses for the centipede to fetch. He commands the centipede, primarily Katsuro, to “get me the world.”
This is what people who skip the movie just upon hearing the concept are missing: clear commentary on the way that the World War II alliance played out between Germany and Japan, that the Germans viewed the Japanese as just as good as the Americans, their enemy at war. And in fact, viewed them as no more than an animal, as Keiter treats his centipede.
The fear
In all my experience as a horror fan, and a horror writer myself, I have never found such an idea, and such a film, that has chilled me to my very core. Even researching this film to talk about it here has scared me and chilled me and yes, grossed me out. And it is for this final reason that I implore you to watch this movie.
Because at their core, aren’t movies meant to make us feel something? And you cannot deny that The Human Centipede does that.
Sources (Linked here and in post):
The Human Centipede, 2009, Tom Six
The Human Centipede IMDb
59: The Human Centipede, James A Janisse and Chelsea Rebecca, the Dead Meat Podcast, 2019
The Oral History of The Human Centipede, Vulture, Kenny Herzog, 2015
By: Tavi Kipnis
On the bright morning of Monday, March 20th, 1995, five men stepped onto different lines of the Tokyo subway carrying umbrellas and bundles wrapped in newspaper. Between stations, those men would drop the packages on the ground and puncture them multiple times with the sharpened tip of their umbrellas before getting off the train at the next station. The rest of the passengers in the subway car would notice their eyes stinging and their lungs struggling to draw breath. People began to collapse, some vomiting and some paralyzed by the sarin gas nerve agent they had inhaled. The group that would take credit for the attack later that day was a cult known as Aum Shinrikyo, which haphazardly combined Buddhist, Hindu, and Christian beliefs into an apocalypse-worshiping belief system. By the time the packages were safely disposed of, the attack would kill 14 people and injure over a thousand more, making the 1995 Tokyo subway attack the deadliest act of terrorism in modern Japanese history.
Two years later, on December 27, 1997, Cure (original name: The Missionary) was released in Japanese theaters.
Figure 1 — Photograph Courtesy Kyodo/Landov
As director Kiyoshi Kurosawa’s fifth film, Cure stars Koji Yakusho as world-weary Detective Takabe as he hunts down and psychologically faces off against serial killer Mamiya, played by Masato Hagiwara. While at first glance this may sound like a boilerplate noir crime thriller, Kurosawa’s direction immediately set it apart from the crowd. Additionally, Cure’s monster lacks the direct element of physical danger prevalent in other serial killer films because Mamiya never kills directly, he only hypnotizes others into killing for him, in mesmerizing scenes sold almost completely by Hagiwara’s performance. Mamiya’s only calling card is a large, sloppy X carved into the murder victim by the hypnotized subject, like a perverted mockery of the cross. Incidentally, the leader of Aum Shinrikyo claimed himself to be the reincarnation of Christ.
Figure 2 – Kurosawa, Cure 0:44:18
Despite the depiction of cult members in popular culture as insane, stupid, or sadistic, sociologists have found that cults mostly recruit people who are educated, non-religious, and searching for community or spirituality. Aum Shinrikyo was no exception, with group leaders mainly recruiting young, highly educated university students and scions of elite intellectual families. In Cure, Mamiya himself is a genius psychology student, and the people he hypnotizes into killing include multiple cops, a teacher, a doctor, and a salaryman. As author Haruki Murakami wrote in his essay on the subway attack, the overwhelming sentiment in culture and media at the time was that “placed alongside the likes of Shoko Asahara and the Aum cult, compared to the deeds they had done, the overwhelming majority of Japanese were indeed ‘right,’ ‘sane,’ and ‘healthy.’” Cure bucks this trend by arguing that it is futile to create a binary between sane and insane, healthy and deranged, right and wrong. As Detective Takabe’s psychologist friend says to him near the beginning of the film, “[Hypnosis] can’t change that basic moral sense. A person who thinks murder is evil won’t kill anyone under hypnotic suggestion.” The line between cop and killer gets smudged. The walls in Detective Takabe’s mind, already cracked at the beginning of the movie, only ended up needing a small push from Mamiya to come down completely.
What makes Cure a horror movie doesn’t come from a repulsive monster or an unstoppable masked slasher. Instead, Kurosawa relies almost entirely on terror as Stephen King defines it – “When the lights go out and you feel something behind you, you hear it, you feel its breath against your ear, but when you turn around, there’s nothing there.” Cure stands apart because its terror doesn’t come from darkened doorways or murky water but from commonplace interactions. Was that odd pause a sign that a character has been hypnotized or was it simply a stare that was half a second too long? Is the briefcase held by the salaryman next to you containing ordinary work documents or plastic bags filled with liquid sarin? The terror of having no idea whether a scene will descend into violence rings true both in Cure and in real life. Cure argues that fundamentally, the estrangement of passengers on a train is the same as the estrangement between a married couple. The brokenness of society that leads to resentment between a cop and his partner also leads to mass violence committed by educated intellectuals in the name of a twisted religion. As Murakami wrote, “[Aum Shinrikyo] shows us a distorted image of ourselves in a manner none of us could have foreseen.” Kurosawa forces the viewer to see that image – and wonder what else we are capable of.
WORKS CITED
“Aum Shinrikyo.” Council on Foreign Relations, https://www.cfr.org/backgrounder/aum-shinrikyo. Accessed 12 Sept. 2023.
Cult Members Who Are They? https://www.csueastbay.edu/philosophy/reflections/2010/contents/kayl-teix.html#:~:text=From%20a%20psychological%20perspective%2C%20many,of%20belonging%20away%20from%20home. Accessed 12 Sept. 2023.
Cure. Directed by Kiyoshi Kurosawa, Performances by Koji Yakusho, Masato Hagiwara, Tsuyoshi Ujiki, Anna Nakagawa, Yoriko Doguchi, Daiei Film, 1997.
King, Stephen. Stephen King’s Danse Macabre. 1st ed, Everest House, 1981.
Murakami, Haruki, et al. Underground. 1st Vintage international ed, Vintage International, 2001.
“Tokyo Subway Sarin Attack.” Wikipedia, 11 Sept. 2023. Wikipedia, https://en.wikipedia.org/w/index.php?title=Tokyo_subway_sarin_attack&oldid=1174975298.
By: August Mashburn
There is something about the horror genre that tends to draw in queer audiences. However, there are also some tropes found within the genre and media that are harmful to queer communities. There is of course the trope of “bury your gays” but another very common trope is that of the trans serial killer or the cross-dressing serial killer. There are many examples of these characters and while they often are not transgender the relation to the trans community and the implications that those representations can have cannot be ignored. Buffalo Bill in Silence of The Lambs according to the characters within the film and its creator is not transgender. Hannibal even says as much “Billy hates his own identity, you see, and he thinks that makes him a transsexual, but his pathology is a thousand times more savage and more terrifying.” So according to this he is not trans, but he does want to be, and that is what makes him dangerous. Buffalo Bill is also a violent murderer who attacks and skins women to turn them into a suit. The issue here is that just saying, “Well the character isn’t trans,” does not remove the implications that that portrayal has and what it could mean to a viewer. I love Silence of The Lambs, I think it is an incredible horror movie and is very effective in the way that it scares you and causes discomfort, I also think that it is the poster child for problematic portrayals of trans people. Silence of The Lambs is one of a very small subsection of horror movies that was able to secure an academy award and in fact won several, but it also portrays a very harmful stereotype of the sneaky violent trans person, despite what the movie wants you to think.
There are also movies that fall into more of a grey area with a far murkier portrayal and far less clear characters. A primary example of this is the movie Sleepaway Camp, in this film the killer Angela is, at least in the first movie, also ostensibly not transgender. Angela has been forced to live as her “dead” brother Peter, even though Angela is in fact Peter, in the context of the story. Again, in the first movie Angela is not trans, and it makes no mention of her being trans, however, the movie ends with the reveal of Angela completely naked holding a severed head and has a character shout “My god, she’s a man!” This is a far murkier portrayal than that in Silence of The Lambs however, it is still not exactly good. Angela has been forced to live as a gender that is incongruent with her true self and that in conjunction with relentless bullying and abuse has caused her to lash out in violent ways. In some ways this could be seen as an allegory for the trans experience. Feeling trapped presenting in a way that is incongruent with yourself and that only causes you further damage. While this argument does work, it carries with it implications all its own. The idea that the damage caused by being forced to live as the wrong gender by your family and society making someone violent and dangerous is still a somewhat damaging idea to present. Many queer people love Sleepaway Camp, and it is not problematic to like it, however, I do feel it is important to examine it with a critical eye, and to think about the shadows that even the positive aspects hold.
These 2 movies are also not the only examples of this trope, they are simply some of the most infamous. This is also an ongoing trope that continues to be used in movies and murder mysteries, if with less frequency. It is important to look at these movies and what they had to say, because in some ways they are both good movies, but they both have problematic forms of social commentary. As a final note on this topic, it is important to realize the reality of violence in relation to trans people. Trans people are far more often the victims of violence than the perpetrators of it. In fact, trans people are 4 times more likely to be victims of sexual violence or other forms of violence than cis people. Additionally, the life expectancy for transwomen of color is 35 years old. It is important to consider these facts and this context when thinking about the portrayal of trans people in media and the damage that these horror movies can cause. For a more in-depth discussion of trans issues in horror movies I recommend the Deadmeat podcast linked here: https://youtu.be/YgpvW9TxWds.
Works Cited
Demme, Jonathan. The Silence of the Lambs. Orion Pictures, 1991.
Hiltzik, Robert. Sleepaway Camp. Columbia Pictures, 1983.
Loyal, thisisloyal.com. “Transgender People Over Four Times More Likely Than Cisgender People to Be Victims of Violent Crime.” Williams Institute, 31 Mar. 2021, williamsinstitute.law.ucla.edu/press/ncvs-trans-press-release.
By: Rey Hughes
If you’ve watched Willy Wonka & The Chocolate Factory (1971), you would know how horrifying the boat scene was- Wonka’s creepy singing, crawling bugs, and images of decapitated chicken- it’s resemblance to a sequence that would be in a psychological horror movie is pretty uncanny. At least when I was a kid, I would have to skip over this scene or hide behind a pillow until it was over. Which is pretty odd for something considered a children’s movie.
But besides this traumatizing boat scene, this movie fits right in with the body horror and slasher subgenres of horror if you think about it as a whole. The kids get picked off one by one by Wonka, they get eliminated in ways indicative of body mutilation, it’s never shown explicitly whether or not the kids leave the factory alive at the end of the movie, and Charlie was the last man standing. These are all features that are comparable to notable tropes of horror films like the one-by-one trope in Scream (1996), or the body gore in the Saw franchise. So- is Willy Wonka & The Chocolate Factory really a horror movie then?
The filmmakers and marketers of the movie would probably answer no, but to me and many other horror fans: the answer is most definitely yes. And here’s why.
There just might be more horror tropes than chocolate bars and candy in Wonka’s factory. I mean- this whole movie structurally almost matches a slasher film’s blueprint: a group gets trapped in a building with a “killer”, they get picked off one by one, etc. But most importantly, slashers all end with the Final Girl trope- and the Final Girl in this case is Charlie. As a refresher, a Final Girl is usually the female protagonist who is the last survivor of the film, usually to confront the killer herself and end it all. Charlie functions as the final girl- besides of course, not being the typical “girl”. But it makes sense- he’s the special one who outlives the rest of the group, and confronts Wonka at the end of the film once everyone else was left behind (or died)?
This next trope has been completely overlooked by a majority of the viewers, and it might just be the most out of place part of the film. Willy Wonka & The Chocolate Factory includes the “Harbinger of Impending Doom” trope, which essentially is the personification of a warning- this figure usually warns the protagonist about danger before they pursue their big mission. Many may not remember, but at the beginning of the film, Charlie goes to the factory before he wins his golden ticket, and there is indeed an old man who walks up to Charlie to warn him about Wonka’s factory. Here’s what he says to Charlie:
“Up the airy mountain, down the rushing glen, we dare not go a-hunting, for fear of little men. You see… nobody ever goes in, and nobody ever comes out.” (6:30-7:03)
I know, pretty cryptic right? He predicts the “little men” (Oompa Loompas) and essentially warns Charlie he’ll die there if he goes in. If you didn’t think his spooky psychic message was enough, Willy Wonka’s Harbinger is seen pushing a cart of axes and knives when he confronts Charlie. The horror isn’t exactly subtle.
Besides the slasher horror tropes present- there’s TON of body horror throughout this movie. Mike TV was shrunken, Augustus Gloop was sucked up a tube, Violet Beauregarde swelled into a blueberry, and Veruca Salt was even sent down to an incinerator where waste was burned. I would undeniably count anytime the children’s bodies were altered as body horror.
I also noticed this film had a great resemblance to the Saw franchise, notorious for its over-the-top body gore. Specifically, Charlie and Grandpa Joe’s fizzy lifting drink scene fit the vibe of Saw: Wonka’s drinks made them float up towards a lethal fan, and they were under a time limit to burp themselves down to avoid getting chopped to pieces- comparable to Jigsaw’s reverse bear trap where the victim Amanda also had a time limit to unlock the trap and save herself from a gory death.
After coming to these conclusions regarding the film’s similarities to the slasher film structure, horror tropes, and body gore, I don’t think I’ll ever be able to remove the lens of horror when thinking about this movie. And besides- when we were kids, Wonka’s boat ride scene was our first sign this film’s home was the horror genre.
Works Cited
Loggie, Matt. “6 Common Horror Film Tropes.” Raindance, 13 July 2021, https://raindance.org/6-common-horror-film-tropes/.
Stuart, Mel, director. Willy Wonka & The Chocolate Factory. Paramount Pictures, 1971.
Wan, James, director. Saw. Lionsgate, 2004.
Craven, Wes, director. Scream. Woods Entertainment, 1996.
By: Luke VanAuken
My first experience watching a Godawful horror movie was alarming, to say the least. My friend Zack went on and on about this new film that dropped on Netflix and said it changed his perspective on what horror movies could be. At this point in my life, I had seen many classics such as The Shining, Halloween, Psycho, and Get Out, so I was super excited to spice things up and maybe get a new classic film to add to my arsenal. Then we watched the new addition to Netflix’s horror section: Zombeavers.
Coming into the world of cinema with a runtime of 77 minutes, Zombeavers doesn’t waste a second of its runtime and somehow still manages to waste over an hour of your time. The script, awful. The acting, awful. The setting: swampy but not too bad. But the BEAVERS. I have no idea if they used puppets or animatronics but lord almighty if this isn’t some of the worst monster designs I have ever seen in a movie. I left the movie unsatisfied and angry with Zack who was hysterically laughing throughout the whole movie.
Fast forward to a month or so later. I’m flipping through the various streaming services with Zack and our friend Kyle, unable to find a movie. We switch over to Netflix and browse the horror movies tab. As we flip through what seems to be every horror movie, dreading the moment that the movies recycle and we realize we’ve exhausted Netflix’s supply, we reach the final film on the app. I peered over at Zack and a wide smirk grew on our faces. Kyle was in the hot seat for the worst hour and seventeen minutes of his life. He didn’t have a choice because we were watching:
This was the start of a new obsession between the three of us. The craving for a movie that was too bad to look away from created a hunger in our stomachs to scour the internet for weeks, and boy did we find some horrible, abysmal, atrocious, beautiful works of art. We found popular ones such as Sharknado, Sharknado 2, Sharknado 3, (not Sharknado 4 that one actually had some pretty good cinematography) Piranha 3D, Poultrygeist, Blood Diner, Thankskilling, but nothing lived up to Zombeavers. That was, until we came across Velocipastor.
Velocipastor is a spectacle. As the Rotten Tomatoes certified critic Josh Goller says, “The Velocipastor really must be seen to be believed.” (Goller). Just by reading the summary, I knew I was in for the ride of my life.
It was movies like this that really got our gears turning, and while we still love and appreciate the genuinely good horror films that are coming out nowadays, it’s hard to forget some of the classics in horror’s new-to-us subgenre of “It’s so bad that it’s kind of good”. Although I may not have the most concrete criteria for putting a movie in a genre among Zombeavers and Velocipastor, it’s important to distinguish between Bad horror and Godawful horror. Bad horror films attempt to scare you and attempt to create a good plot but end up short. Godawful horror films know they are failing to scare you and know they have a bad plot, but they still shove it in your face anyways. I like to think of it as two negatives making a positive type of situation except everything in the movie is negative and the only positive is laughing at how bad it is.
In short, I’d recommend a Godawful horror movie for any type of occassion, but to be quite frank I think they’re best to watch at any time other than Halloween season. Specifically if you just finished a long paper or project, I’d like you to leave this post knowing there’s entertainment out there that can turn your brain from mush to liquid in a rather short runtime. Enjoy the unenjoyable!
By: Michael Ahrens
A group of young people are packed into a car, traveling through a remote, rural part of Texas. You don’t know how old they are, but this cramped road trip—perhaps a naïve expression of newfound freedom—suggests they might be college students. You don’t know exactly where they’re from either, but in their amused disdain for the people and places around them, you can tell that they aren’t where they’re supposed to be. Eventually, they pull over and pick up a hitchhiker. Some might recognize this from Tobe Hooper’s slasher, The Texas Chainsaw Massacre. Others might say, “No shot! That’s from Rob Zombie’s debut, House of 1000 Corpses.” Well, there’s no need to argue. In this case, you’re both right.
The films begin by marking their protagonists as out of place city folk traveling through the country for their respective, banal reasons. These characters, knowing they don’t belong where they are, are warned early on of the consequences if they overstep. In The Texas Chainsaw Massacre, the road tripping kids pull over for gas and directions. They meet Drayton Sawyer, the eldest Sawyer brother, and he tells them, “You don’t want to go foolin’ around other folk’s property. Some folks don’t like it, and they don’t mind showing you.” It would be useful advice, but it goes unfollowed. When Kirk and Pam come across the Sawyer residence later on, they walk in uninvited. Drayton’s youngest brother, the notorious Leatherface, claims his first victim without leaving his home.
In House of 1000 Corpses, the road trippers pull over at Captain Spaulding’s Museum of Monsters and Madmen, where they meet the murderous clown himself. They explain that they’re writing a book on off-beat roadside attractions, which sends Spaulding into an angry, creepy, miniature monologue: “I know what your problem is. Y’all think us folks from the country’s real funny-like, don’t you? Well, saddle up the mule, boy! Slide me some grits! I’s got to get me some education!” Just like Hooper’s curious kids, they are undeterred. In fact, the House of 1000 Corpses group seems even more anxious to make a grave error. They receive directions to a tree where local legend Dr. Satan was supposedly hanged, and along the way, they pick up Baby Firefly, Spaulding’s daughter. When they don’t survive, it seems a foregone conclusion.
These encounters, squared with the brutal murders to follow, introduce a central question of the films: If you’re so much better than us, why did you come here? An apparent sense of middle-class superiority is to blame in both cases. The characters act as if they are protected from harm simply because they come from a more populated area code. They seem to put themselves in dangerous situations because they feel entitled to survive. It’s more obvious in House of 1000 Corpses (almost to the point of being ham-fisted), but in both films, a drive through the country is akin to a museum field trip (or perhaps a trip to the zoo). They ignore all warnings, grossly overstep their bounds, and meet their demise as a direct consequence.
So, they went into the country, and they weren’t careful enough. Do these films suggest that any suburban family driving through Texas is at risk of being killed, barbecued, and served in a chili? I would argue otherwise, even if the Sawyers and the Fireflys would disagree. I would because of Leatherface and Tiny Firefly. Leatherface is giant, masked, and violent. He is also nonverbal, scared to death of his brother, and lacking a complete understanding of the world around him. Tiny Firefly is essentially the same, down to the mask. He’s over seven feet tall, mentally disabled, and physically disfigured, having been burned alive by his own father.
There is almost a gentleness to these characters, their violent actions aside. They’re scary, but they’re explicitly damaged through no fault of their own. It seems that Hooper and Zombie recognized and tried to represent similar inherent struggles that come with poverty in these characters. Tiny and Leatherface are not redeemable by any stretch, but one can imagine how their lives would have been different if they were born into a wealthier, more loving family—perhaps in the privileged household of one of the road trippers.
What is interesting is that The Texas Chainsaw Massacre was released in 1974, and House of 1000 Corpses was released in 2003. What Zombie and Hooper meant to say in these films is complex, but one thing is very clear: the cultural divide portrayed in them is one that is timelessly present in the American experience. They show how ugly the world can be, both for the unlucky, raised with nothing but evil around them, and those who are comfortable enough to venture out and make a spectacle of the former.
(Warning: major spoilers ahead for the film Soylent Green)
By Gracie Andreasen
My sophomore year of college I took a playwriting class. The class itself? Great. The class meeting at 8am? Not so great. Every Tuesday and Thursday I would force myself out of bed and slouch out the door to grab my life sustaining force: coffee. I would show up to every class with sleep still in my eyes and a latte gripped tightly in my hand. Almost all of my classmates showed up in a similar fashion. Some would come in holding paper Starbucks cups, others brought their own thermoses, a few even had cans of energy drinks, but one student’s drink was different from the rest. I noticed that she brought in the same plastic bottled drink everyday, and on the first day when I read the label I was shocked. She was drinking Soylent.
Now, some reading this may be familiar with this trendy, meal-replacement beverage. I was not at the time. My only knowledge of the word “soylent” came from the 1973 B-horror, sci-fi film Soylent Green. This film, directed by Richard Fleischer, was based on the novel Make Room! Make Room! By Harry Harrison. The story follows a detective, played by Charlton Heston in the film, living in a dystopian world where food supply has almost completely run out due to overpopulation, leading the government to feed civilians meal-replacement concoctions, one of which being the substance named “soylent green”. This detective becomes suspicious of the government and secretly investigates their practices. During the climax of the film, he discovers what soylent green is really made of. In an iconic scene, a distraught Charlton Heston being forcibly carried off screen yells, “Soylent green is people!”
The government had been using dead bodies and churning them into a food source for the population. Totally horrifying and gross. I watched this movie with a group of friends for the first time in high school, and after finishing it we would scream Heston’s famous line to each other. If you have not seen this movie, I highly recommend getting a group of friends together and watching it. The film explores some interesting questions about climate change, overpopulation, resource depletion, and ecological decay, and if that’s not enough to interest you, you should watch it for the 1970s B-movie cheesiness alone.
After seeing my classmate bring in the drink a few times, I asked her if she had ever seen the movie. She hadn’t, and when I explained it to her and reenacted the climactic scene, she was not impressed. It probably was a bit much for a Tuesday morning. Embarrassment aside, I looked into the drink and found that it was a meal replacement beverage company formulated in Silicon Valley and founded in 2014. When you type in “soylent drink” on google, a list of frequently asked questions comes up, one of those is “Is soylent made from humans?” If you click on this question it takes you to a page on Soylent’s website. Their official quote on the matter is, “We assure you — no bodies were harmed in the making of our products. 🙂 Our formulas are powered by plants, not people.” However, if you just go onto their main website, there is nothing about the movie or book from which they took their company’s name. There are sleek images of various flavours of Soylent accompanied by paragraphs about the company’s founding and how the beverage provides all the nutrients a human being needs. It is interesting that in the novel and film, soylent green was forced upon people to survive because they had no other food to eat, while Soylent markets their drink as a choice for busy bees who don’t have time to make a meal. Though there are interesting science tidbits on the website, it takes quite a bit of digging to find that page with the quote pertaining to the movie and the question of drinking people.
I find it interesting that this company would use the name from the film, but not lean into it in the rest of their marketing. Maybe this is for the best, people don’t want to think about drinking other people. There could be another reason for this hidden connection. A vast majority of people I see drinking Soylent are young, millennials, most of whom probably haven’t seen a not very famous movie from the 70s. So when they walk around with their healthy shakes, they have no idea about the origin of the name. This is perhaps a fun inside joke for the people who founded the company and those who know the movie. It’s definitely not because of something more sinister, right? That being said, drink at your own risk (;.
Bibliography
Ebert, Roger. “Soylent Green Movie Review & Film Summary (1973): Roger Ebert.” Movie Review & Film Summary (1973) | Roger Ebert, Russell Thatcher, https://www.rogerebert.com/reviews/soylent-green-1973.
“Let Us Take a Few Things off Your Plate.” Soylent, https://soylent.com/.
By: Tye Kalinovic
Up until my junior year of high school I refused to watch horror movies, but since my introduction to the genre I have really come to love horror movies, and The Conjuring was one of the first films that sparked this love. The Conjuring was released in 2013, and I remembered hearing my babysitter mention that it terrified her. I had initially refused, but my friends had convinced me that I needed to at least try a horror movie. After all, how could I have such a strong opinion about them if I had never seen one? Perhaps the most convincing factor was that the girl I liked at the time was with us. If there was ever a way to get a 16 year old kid to do something no matter what, that may be the most effective way to do it.
There are plenty of aspects of The Conjuring that I would describe as scary. There is a scene in particular where the mom in the story is playing a version of hide and seek with the kids, where the mom has her eyes closed and tries to find the kids based on the sound when they clap their hands. Two hands emerge from the wardrobe and clap and we know as audience members that the hands don’t belong to her kids, but she doesn’t realize it. Scenes like this one really struck me because of how inherently creepy it was to see things that the characters don’t.
There are many other scenes throughout the film that show sharp jumpscares and creepy imagery, all of which was making me sweat. To my surprise I wasn’t hating my experience. I was definitely watching with a blanket pulled up to my nose, and shouted with every jump scare, but I was handling it pretty well.
Although I was handling the imagery, and jumpscares, there is one aspect of this movie that especially stood out to me at the time. The words “based on a true story” across the screen. In fact to this day, people that the movie was based on still insist that much of the movie really happened (Alexander, 2013). (More info about the real life events can be found here. I know that anything could technically be “based on true events” and that this doesn’t necessarily mean anything, but for that night it took away my security blanket that it was just a movie. That night after watching the movie, the events of the movie played in my head. I sprinted up my driveway that night and fell asleep with my light on.
I probably would have thought about The Conjuring afterward even if it wasn’t based on a true story, but I think that detail is what allowed me to treat the story as if it were real, which is now something I try to do with most horror movies.
My favorite movies of all time always have been and always will be movies that make me think afterward. I think the best movies are movies that capture my attention for the entire screen time and then demand even more of my attention after the movie is over. The Conjuring introduced me to applying that idea to horror movies. I think that is the reason that I now like the horror genre so much. Even if a movie isn’t made that well, approaching with the idea of it being real or imagining it happening to me forces me to think about the movie long after initially seeing it. Then again it’s possible that I like The Conjuring because I ended up holding hands with the girl and that’s what started my horror journey. I guess I’ll never know for certain.
Works Cited:
Alexander, Bryan. “The ‘True’ Story behind ‘The Conjuring’.” USA Today, Gannett Satellite Information Network, 23 July 2013.
‘The Conjuring’, James Wan, Michael Chaves, 2013
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The Story: The tale of how young Hannibal Lecter became the serial killer/cannibal who would one day be the focus of an Oscar-winning movie.
The Lowdown: A good-looking but rather suspenseless revenge story that is never scary and might have worked better on its own without any connection to the Lecter mythos.
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There are certainly worse things in this world than Peter Webber’s Hannibal Rising (Norbit, anyone?), but it might be hard to find anything more utterly superfluous. Maybe it’s because I’ve never taken the Hannibal Lecter character all that seriously that I never considered the need for a prequel. I mean, come on, the Hannibal of popular film and literature would have to have an IQ of at least 2,000.
Hannibal may be based on Ed Gein (what serial killer is not?), but old Ed looked like a fellow who had trouble crossing an “X” by way of a signature. Hannibal, on the other hand, could come up with the Theory of Relativity while playing Liszt’s Piano Sonata in B with one hand, painting a Rembrandt with the other, and offering advice on the best Saville Row tailor as an afterthought—with time out to colorfully eviscerate his latest victim. Such a fantastic creature just is the way he is—or so he should be. As a result, I never wondered how a nice little boy from Lithuania (I’m not even sure I knew he was Lithuanian before) turned into the world’s wittiest and most sophisticated practitioner of creative homicide. Unfortunately, his creator, Thomas Harris, decided to tell us anyway—mostly, one assumes, because he figured there was at least one more quart to be squeezed out of his cash cow. What he gives us is more like a half-pint of soybean juice.
Harris’ premise is a pretty simple one: Hannibal suffered childhood trauma. What a weighty concept! It all comes down to the fact that when the Lecter family flees their castle to hide in their hunting lodge on the estate (… a location seemingly within sight of the castle), everybody but young Hannibal (newcomer Aaron Thomas) and his little sister Mischa (newcomer Helena Lia Tachovska) expires in an explosive encounter between a Russian tank and a Nazi Stuka. (A lesson is learned: Never shoot down a plane that is aimed right at you.) Left to their own devices, the toddlers are soon beset by unwelcome wannabe SS traitors turned looters, who, when food becomes scarce, decide that fricassee of Mischa is what’s for dinner. (This background story is pieced together like it’s some Big Revelation, despite the fact that it’s painfully obvious that Mischa was going to be mighty good with mustard from the onset.)
Hannibal finally escapes their clutches, is rescued by the Russian army, and eight years pass. Young Hannibal (now played by Gaspard Ulliel, A Very Long Engagement) has ended up a mute (well, he screams “Mischa!” in his sleep) living as a ward of the Soviet state in Lecter Castle, which has been turned into the People’s Orphan Asylum. After stabbing a bully in the hand with a fork (and making sure the ruffian walks into a bear trap), Hannibal escapes to France to find his uncle. Instead, he finds his uncle’s widow, Lady Murasaki (Gong Li), who takes him in, trains him in the use of the Samurai sword (yes, really), seems to become his lover, and mutters “Hannibal” a lot while Hannibal mixes medical school with murder. She seems to object very little when he offs a butcher (Charles Maquignon, Brotherhood of the Wolf) who insulted her (in fact, she covers for him), but becomes concerned when he starts revenging himself on the gents who dined on his sister.
As a basic—albeit twisted—revenge story, it’s passable enough, even if one might rightly question just how Hannibal got a French passport and is able to travel into Lithuania with no problem in the 1950s. As part of the Hannibal Lecter story, however, it just doesn’t work all that well. Beyond the central problem that we know where it’s going (he has to get away with it because we’ve seen his later antics), there’s a dull, repetitive quality to it all. It’s too “track down one of the miscreants, torture information out of him, kill him, and eat his cheeks” (apparently, the taste for liver and fava beans is something he acquired later). Worse, it’s humorless and all so self-important (hey, this is a tarted-up slasher movie, not high art). What can you do with a movie that doesn’t seem to find the line, “You ate my sister,” at least mildly amusing? (OK, so maybe it doesn’t rank up there with the outraged complaint, “Your mother ate my dog,” in Peter Jackson’s Dead Alive (1992), but it could be in the same black comedy ballpark.)
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2015-03-15T04:47:08-06:00
|
Manhunter. The Silence of the Lambs. Hannibal. America has participated in a long and twisted celluloid love affair with Dr. "Hannibal-the-Cannibal" Lecter.
|
en
|
Plugged In
|
https://www.pluggedin.com/movie-reviews/hannibal/
|
Movie Review
Manhunter. The Silence of the Lambs. Hannibal. America has participated in a long and twisted celluloid love affair with Dr. Hannibal “The Cannibal” Lecter. Now, 10 years after evading Jodie Foster’s Clarice Starling in 1991’s hugely successful Silence of the Lambs, Hannibal’s hiding out in Florence, Italy. But he has two determined foes hot on his trail: Inspector Rinaldo Pazzi, an ambitious Italian cop, and the extremely wealthy Mason Verger, a rare survivor of Hannibal’s predations. Not that FBI special agent Starling has ever completely forgotten her encounter with the intelligent, vicious and flesh-obsessed murderer.
The movie opens as Agent Starling is made to take the fall for a botched drug bust. A corrupt Justice Department aide, Paul Krendler, pushes Starling off the case to avoid bad PR and puts her on what he believes is a dead case: the pursuit of Hannibal. Meanwhile, Inspector Pazzi recognizes Hannibal from the FBI’s most-wanted list and pursues him on his own time—not in the pursuit of justice, but for the $10 million reward. And Mason Verger has hired a team of Italian hitmen to exact his own personal revenge.
What follows is a monstrous trip through the dregs of humanity as greed, ambition, vindictiveness and resentment clash with an implacable, remorseless killer.
positive elements: Agent Starling places honor and duty ahead of personal gain. Inspector Pazzi allows his life to be put in jeopardy to protect his wife.
spiritual content: A man with a hideously disfigured face asks Agent Starling, “Have you accepted Jesus?” She responds, “I was raised Lutheran.” He answers back, “That’s not what I meant. … You can look me in the face, but you’re shy when I mention God.” The man later says in regard to a crime, “I have immunity from the risen Jesus.”
Hannibal asks a soon-to-be victim to say grace at the dinner table. After the victim makes a crude remark to Agent Starling, Hannibal says, “You’re like the Apostle Paul. He hated women too.”
nudity and sexual content: A flashback scene hints at homosexual flirting. The cameras linger on a line drawing of a topless woman. A cop propositions Agent Starling with a crude reference to genitalia. Crude remarks are made about deviant sexual acts. A stone statue features full male nudity.
violent content: Intense, sick and repugnant. Among other things, there’s a violent shootout between cops and drug pushers. A man’s head is crushed against a windshield. Blood spurts from the mouth of a shot man. A man’s head explodes. A woman holding a baby is shot in the head. A man high on drugs peels his face off, and the scraps are fed to a dog. Hannibal attacks a nurse and bites her ear off. A pickpocket is knifed. A man’s throat is slit with a straight razor. A man is disemboweled, then hanged from a balcony—his entrails splatter to the ground below. Wild boars attack and eat humans. Hannibal cuts off the skull of a heavily drugged man, exposing his brain. He then proceeds to cut out a portion of the brain, fries it in a wok, and feeds it to the still-alive man, who replies, “Hey, that tastes pretty good.” Hannibal also feeds a small portion of fried brain to a young boy on an airplane.
crude or profane language: God’s name is abused four times. A handful of other profanities and obscenities include two uses of the f-word.
drug and alcohol content: Cops smoke cigarettes. Agent Starling consumes a mixed drink. Lecter drinks wine on several occasions. Other characters also imbibe.
other negative elements: Director Scott apparently tried to “lighten the mood” of this movie compared with that of The Silence of the Lambs. But the jokes aren’t funny, they’re just disgusting. After screening the movie, gory storyteller Stephen King said, “It was okay, but it was done in bad taste.” That’s an understatement. Hannibal is a vicious and methodical executioner, yet most of the film’s other characters (with the exception of Agent Starling) are made out to be worse than the urbane, cultured Hannibal.
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5824
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https://filmfisher.com/hannibal/
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Film Fisher
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"Timothy Lawrence"
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2016-01-04T08:30:13+00:00
|
When we first meet Will Graham (Hugh Dancy), the protagonist of Bryan Fuller’s television series Hannibal, he is looking at the grisly aftermath of a home invasion, surrounded by FBI agents. Graham, a special investigator, closes his eyes and, accompanied by the visual cue of a golden light sweeping the screen clean, reverses time, erasing bloodstains, removing agents, and bringing the victims back to life. He then proceeds to reenact the crime scene in his imagination, describing his intentions and actions to us in detail. Fuller then reveals that Graham is lecturing, describing the crime to a classroom full of students at Quantico.
|
en
|
Film Fisher - Thoughtful movie reviews you can trust.
|
https://filmfisher.com/hannibal/
|
The Price of Imagination: The Danger of Empathy and the Aesthetics of Violence in Bryan Fuller’s “Hannibal”
When we first meet Will Graham (Hugh Dancy), the protagonist of Bryan Fuller’s television series Hannibal, he is looking at the grisly aftermath of a home invasion, surrounded by FBI agents. Graham, a special investigator, closes his eyes and, accompanied by the visual cue of a golden light sweeping the screen clean, reverses time, erasing bloodstains, removing agents, and bringing the victims back to life. He then proceeds to reenact the crime scene in his imagination, describing his intentions and actions to us in detail. Fuller then reveals that Graham is lecturing, describing the crime to a classroom full of students at Quantico.
This is an instantly uncomfortable headspace in which to introduce an audience to the ostensible hero of one’s story. Dancy’s tortured performance makes it clear that Will takes no pleasure in imaginatively assuming the role of a murderer. The fact that our protagonist is so unsettled by what he is seeing and participating in encourages the audience to feel likewise. While subsequent episodes of Hannibal will aestheticize and beautify their crime scenes to fascinating effect, this opening is more clear-eyed – stark, ugly, and brutal.
Based on Thomas Harris’ novels about now-iconic serial killer and cannibal Hannibal Lecter – most famously, Silence of the Lambs and Red Dragon, both of which have been adapted to film with varying degrees of success – Hannibal, with its dark, opaque style and elaborately gruesome violence, is an anomaly on network television. Much has been made of how the show’s existence on NBC was nothing short of a minor miracle, with critic Alan Sepinwall remarking, “I remain amazed that… Hannibal is even on television at all, let alone on a traditional broadcast network like NBC.” Unsurprisingly, despite near-universal critical acclaim, the series received consistently low ratings and was ultimately cancelled after its third season.
The premises of Bryan Fuller’s previous series, Dead Like Me and Pushing Daisies, betray a fascination with death and the way mankind deals with its inevitability. Hannibal is similarly preoccupied with death and the effects of violence on the human psyche. In fact, it is more concerned with the emotional toll of chasing serial killers than the killers themselves. Unlike other shows of its kind – frequent points of comparison include The Following, Dexter, and Bates Motel – Fuller’s series avoids exploitative violence to deliver something more thoughtful, melancholy, and psychologically astute. Instead, it uses the contrast between Will Graham and Hannibal Lecter (Mads Mikkelsen) to seriously ask how one should response to the reality of violence.
Will Graham and the Uncomfortable Gift
In “Aperitif,” Hannibal’s first episode, Alana Bloom (Caroline Dhavernas) and Jack Crawford (Laurence Fishburne) discuss the effects that working as an FBI investigator will have on Will Graham’s already unstable psyche. Jack speculates, “Will deals with huge amounts of fear. It comes with his imagination.” Alana clarifies, “It’s the price of imagination.” Throughout Hannibal, Will’s unique gift – a sort of unbridled empathy that allows him to get inside killers’ heads and understand their actions – is portrayed as a source of deep disturbance, manifested in increasingly unsettling visions and hallucinations. This is the key to the show’s success: that it sees the world through Will’s eyes. Grounding the story in Will as protagonist and hero is a large part of what keeps it from becoming exploitative or indulgent, giving moral context to the horrors on display. In many ways, Hannibal is not about Hannibal; relegating the iconic villain to a supporting role differentiates the series from the current trend of the television anti-hero drama, as seen in The Sopranos and Breaking Bad. Will may be deeply flawed, but he is fundamentally decent in a way that Tony Soprano and Walter White never were.
Throughout the series, Will and Hannibal exemplify differing approaches to violence. In “Aperitif,” Will is deeply disturbed by the actions of Garret Jacob Hobbs (Vladimir Cubrt), also known as the Minnesota Shrike, who kills young women resembling his daughter. Hannibal, in contrast, is fascinated by Hobbs, even going so far as to emulate him. Throughout the first season, Hannibal’s actions – imitating the crimes of the killers he and Will work together to apprehend – earn him the nickname of the Copycat Killer. However, Will’s imagination comes with a high cost. As Crawford and Hannibal push Will more and more towards the darkness that mankind is capable of – unintentionally on Jack’s part, intentionally on Hannibal’s – he becomes increasingly concerned about his own capacity for evil. “It’s getting harder and harder to make myself look,” Will tells Jack in “Coquilles,” the first season’s fifth episode. “This is bad for me.” His ability to identify with killers makes him fear that he is capable of becoming one, and Hannibal attempts to push him towards this outcome.
Empathy is highly prized in modern culture and art, but Will is faced with the possibility that unrestrained empathy can lead to compromise of his values. He uses his imagination to do good – Jack frequently reminds him that he is saving lives – but at the same time, it is a weakness that Hannibal can exploit. Will’s disgust with the murders he investigates is compounded by a fear that he will begin to enjoy and participate in the violence he witnesses. In the climax of “Aperitif,” Will kills Garret Jacob Hobbs, saving the life of his daughter Abigail (Kacey Rohl). Although most series would hardly blink at such a development – the righteous killing of evil men is typically celebrated without question in American culture – Fuller devotes a great deal of the series’ first season to dealing with Will’s internal fallout over his actions. He reveals to Hannibal that killing Hobbs felt good, and Hannibal, in turn, tries to nurture Will’s ability to be a killer. In an interview with Alan Sepinwall, Fuller explains, “Based on [Hannibal’s] philosophy of life, getting Will to accept the fact that he is a murderer and could take a life will actually help him become a purer human being.” This may be the series’ most vital dramatic and thematic dilemma: is Hannibal right about Will’s innate ability to kill, or is Will fundamentally good? From this question arises another: can immersing oneself in darkness change them, or does it merely reveal darkness that was already within them?
Hannibal Lecter and the Loneliness of Evil
In his review of Jonathan Demme’s film adaptation of Silence of the Lambs, Roger Ebert writes, “A fundamental difference between The Silence of the Lambs and its sequel, Hannibal, is that the former is frightening, involving and disturbing, while the latter is merely disturbing… The secret of Silence is that it doesn’t start with the cannibal—it arrives at him, through the eyes and mind of a young woman.” Similarly, presenting the series primarily from Will Graham’s point of view sets a respectful distance between Hannibal Lecter and the audience, placing his actions in a larger moral context. At the same time, Hannibal seeks to explore why people – both viewers and characters within the show – are drawn to its titular character. In doing so, it renders Hannibal Lecter attractive: he is urbane, sophisticated, and charismatic. Although Fuller is careful to remind the viewer of Lecter’s evil, he also seeks to involve the audience in that evil’s seduction of Graham. The unintended result is that, as with Walter White of Breaking Bad, some fans of the series idolize Lecter unduly, missing or ignoring the moral context responsibly provided by the author. Early episodes of season three, focusing on Hannibal without Will’s balancing influence and delving into his backstory, may seem to lose the moral perspective that clarified Fuller’s view on the character in earlier seasons. However, Fuller is careful not to justify Hannibal’s actions through his backstory. “I accept what Hannibal has done,” Chiyoh (Tao Okamoto) tells Will in the season’s third episode, “Secondo.” “I understand why he has done it.” Will rightly replies: “Mischa doesn’t explain what Hannibal is. She doesn’t quantify what he does.” Later, Hannibal himself reiterates the point: “Nothing happened to me. I happened.” While another show might try to explain away an anti-hero’s actions by delving into his past, Fuller refuses to excuse Hannibal Lecter. However, at the same time, he humanizes Hannibal through Will’s interactions with him. As Will grows closer to Hannibal and begins to care for him, the audience follows him. The audience has a fuller understanding of the scope of Lecter’s evil than Will does, but is so immersed in Will’s headspace that they may sympathize with him. This unresolved tension – between the reality of Lecter’s evil and the sympathy and fascination afforded by Will’s perception of him – is present throughout the series, as the audience shares Will’s deeply conflicted emotions about Hannibal. One can view Will’s arc as a cautionary tale of how the subjectivity of empathetic perception can corrode one’s moral compass.
While Will is characterized by his empathy, Hannibal is defined by isolation. This solitude is brought on by his own hubris; by believing that he is superior to everyone else, Hannibal forsakes the ability to relate to anyone. Early in season three, he coolly explains to one of his victims, “It’s only cannibalism if we’re equals.” However, Hannibal is fascinated by Will precisely because of his empathy. In Will, he sees someone who can truly know and understand him. His efforts to coerce Will into becoming a killer are rooted in curiosity – “You were just curious to see what I would do,” Will says upon discovering Hannibal’s true motives in “Savoureux,” the finale of season one – but also in a deep sense of loneliness. Throughout season one, Hannibal seeks to construct a sort of makeshift family, with himself and Will acting as surrogate fathers to Abigail Hobbs. His lack of empathy contrasts sharply with Will’s excess, but the two are drawn to each other, implying that neither mindset can function properly alone. Will must curb his empathy in order to block Hannibal’s influence, while Hannibal’s aloofness renders him haunted by isolation. In “Mizumono,” the finale of season two, Hannibal, visibly hurt for the first time, tearfully berates Will for betraying his trust: “I let you know me. See me. I gave you a rare gift, but you didn’t want it.” Hannibal is motivated by a recognizably human, universal longing: to be truly known by another person. However, he is simultaneously stymied by his own distance from anything truly human.
Perception, Intertextuality and the Aesthetics of Violence
Will’s empathy and Hannibal’s loneliness are both responses to perception of violence and darkness. The motif of sight and perception is highlighted by the recurring use of the phrase, “See?” The first occurrence of this line is in “Aperitif,” when a dying Garret Jacob Hobbs whispers it to Will. Later episodes clarify that Will is “seeing” what it feels like to take a life, and in this sense, shares a certain discomfiting kinship with Hobbs. The theme is hammered home in other ways – close-ups on eyes are a staple of the series’ visual style. Another striking example comes in the opening episode of season two, in which a killer arranges the bodies of his victims to create a massive human mural shaped like a giant eye. When Hannibal climbs to the top of the silo in which the mural is located, the eye stares up at him – a subtle but potent reminder of the dark things eyes look at in this series.
Hannibal implicates the viewer in its questions of perception throughout its run, but nowhere more viscerally than in the second half of its second season. As Will returns to therapy with Hannibal in an attempt to expose him, the series itself becomes unmoored from reality, instead immersing the viewer in Will’s increasingly disoriented and emotionally confused mind through surreal imagery and atmosphere.
In the opening episode of season three, Bedelia du Maurier (Gillian Anderson) intones, “You no longer have ethical concerns, Hannibal. Only aesthetical ones.” Throughout its run, Hannibal finds beauty in unlikely places, thanks to a lush visual style used by directors such as Guillermo Navarro, cinematographer of Pan’s Labyrinth. This ties into what may be the series’ most important theme: the fear of how one is shaped by what they see. By presenting violence as something aesthetically pleasing – as Hannibal does with his victims, preparing them as enticing-looking meals – Hannibal alternately entices and repulses its audience, prompting them to wrestle with their own responses to the darkness on display.
Hannibal consciously recalls the way violence has been aestheticized in art throughout human history, pondering – often quite pointedly – whether or not the potential for evil is something innate to the species. Fuller and other members of the creative staff, along with television critics, have variously compared the show’s images to, as Vulture’s E. Alex Jung puts it, “Italian Renaissance paintings; Italian horror cinema, like Dario Argento’s Opera; Hélène Cattet; Bruno Forzani’s This Strange Color of Your Body’s Tears; Patricia Highsmith; and a ‘pinch of Alfred Hitchcock.’” The musical choices also emphasize the show’s emulation of and connection to classical art: Hannibal is fond of Bach’s arias. In season two, Hannibal mentions Homer’s Iliad, comparing himself to the epic hero Achilleus. Incidentally, Fuller’s casting of Hannibal in the role of epic hero is analogous to Milton’s portrayal of Satan in Paradise Lost, which adds further depth to the way characters frequently describe Hannibal Lecter as the devil – but that is beyond the scope of this paper. In the end, Hannibal’s incorporation of classical art is another way to get at its core thematic question: beyond the current trend of serial killer shows, why is human art so fascinated by violence and cruelty?
Ultimately, Hannibal seems to suggest that art is a way to make sense of violence. In an interview with Alan Sepinwall, Fuller (2013) describes the creative process behind the show’s grisly yet beautiful crime scenes: “[we’re] constantly looking for, ‘What is the poetry of the murder? What is the art of the murder?’ …The more real the murder is, the less interested I am in seeing it. It’s hard enough to watch the news… [t]he only way to write this show is to give the villains a larger than life, operatic quality.” Fuller’s philosophy is to distance the violence of the show from reality in order to better process it and make sense of it by aestheticization. The danger is that aestheticization can belie the true weight of violence, and in turn entice the viewer into becoming a vicarious participant. This is the dilemma inherent in the show’s presentation: it simultaneously draws one in and warns them away. This is catharsis in its purest definition: the vicarious experience of, and release from, emotion. Yet, as Hannibal cautions, imagination comes with price.
In its finale, Hannibal resolves the dilemma of violence and empathy in a catharsis that is deeply unsettling, suggesting that to immerse one’s imagination in violence is self-destructive and potentially inescapable. Will Graham and Hannibal Lecter, beset by the deranged killer Francis Dolarhyde (Richard Armitage), work together to murder their attacker. The act involves the audience in a way the show never has, finally coercing them into rooting for Will and Hannibal to kill. This bloodbath, as inevitable as it is cathartic, finally brings Will and Hannibal together, uniting the two opposites – but this mutually destructive union cannot last, as Will embraces Hannibal before hurling both men over the edge of a cliff to their presumed deaths. In the end, Hannibal is only able to resolve the conflict between empathy and violence by embracing both.
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2
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https://theweek.com/articles/572787/hate-scary-movies-but-cant-enough-nbcs-hannibal
|
en
|
I hate scary movies. But I can't get enough of NBC's Hannibal.
|
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[
"Samantha Rollins"
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2015-08-28T10:00:00+00:00
|
The NBC drama, which airs its final episode on Saturday, is absolutely unmissable — even if you're as big a wimp as I am
|
en
|
theweek
|
https://theweek.com/articles/572787/hate-scary-movies-but-cant-enough-nbcs-hannibal
|
One night last month, I found myself crouched on the floor in my room, peeking nervously underneath my bed. I wasn't searching for a mouse, or a cockroach, or any other kind of apartment vermin. I was trying to reassure myself that a killer wasn't lurking down there, waiting for the opportune moment to grab me by the ankle.
Obviously, I'm embarrassed that I stooped so low to give myself some peace of mind, but I had a bit of an excuse: I had just watched an episode of NBC's Hannibal featuring an especially chilling bedroom scene. As an avowed hater of horror movies, gore, and even action films with too much bloodshed, this episode was pretty much everything I've spent most of my life avoiding. And yet... for the last several weeks, in every free moment, I keep finding myself back on the couch, clutching a pillow in fear while tearing through another episode of Hannibal's first season.
How did I, a card-carrying member of the Incredibly Squeamish Club, become a massive fan of a show about a murderous cannibal? In preparation for Saturday's series finale, I'm here to make one last pitch to all my fellow cowards: If you like cerebral, surreal, thrilling TV, you need to watch Hannibal — even if it makes you wade through buckets of blood to enjoy it.
I'm not going to downplay Hannibal's haunting and disturbing scenes, which often come as Jack Crawford (Laurence Fishburne), the agent in charge of the FBI's Behavioral Science Unit, investigates the aftermath of some particularly peculiar crimes with the help of FBI profiler Will Graham (Hugh Dancy), psychiatry professor Alana Bloom (Caroline Dhavernas), and forensic psychiatrist Hannibal Lecter (Mads Mikkelsen). But Hannibal is so much more than horror. Creator and showrunner Bryan Fuller has created an immersive and nightmarish universe in which his characters live, die, and kill while enjoying suspiciously decadent dinner parties. To separate any specific incident from the show's larger, deliberately plotted context would be useless — like Hannibal slicing off a victim's limb only to throw it away (we all know he uses it to make a mean osso buco).
And unlike the guts and gore that turn up in your average cop drama, the violence in Hannibal serves a purpose. After a few episodes, even the biggest scaredy cats will be mesmerized by the strange, grotesque beauty of Fuller's creation: A bird's-eye view of bodies in a carefully arranged murder tableau almost resembles a renaissance painting; a master musician-cum-murderer turns his victims' guts into strings and their bodies into cellos so he can literally find the music within them; a dead person isn't found hanging from a tree, he becomes the tree. Hannibal's murderers are deranged artists making violent poetry, and the show's cinematography mimics that perverted beauty, lingering on a sumptuous shot of a bloody steak, or even tunneling through an opera singer's pulsating vocal chords as she sings an aria.
Hannibal's meditation on brutality's warped grace stretches beyond aesthetics. Even the show's most gruesome scenes almost always serve as a counterpoint to the real meat of the show: the complex relationship between Hannibal Lecter and his friend, patient, enemy, and ally Will Graham. Through philosophical, often coded dialogue and sessions of unabashed psychoanalysis, Lecter and Graham's relationship gradually evolves from a simple (though enthralling) cat-and-mouse chase to a bond that's deepened by the unspeakable urges that fester in each character's psyche.
For anyone who's even vaguely familiar with Silence of the Lambs and the other previous Hannibal books and movies, it's hardly a spoiler to say that Will does eventually discover where Hannibal is getting such a steady supply of top-shelf meat. It's a testament to the series' quality that things only get more interesting and more repulsive from there. Though Hannibal's later episodes certainly revel in their darkness — this is a show about a sociopathic cannibal, after all — they never fall into self-caricature, and Hannibal's surreal third season takes risks where most other shows would have been content to continue replicating the same formula. A show that's so assured of its signature brand of macabre elegance, yet so unafraid of upending viewers' expectations, deserves much more attention than it's getting.
None of this praise is to say that I've moved beyond squirming, hiding behind pillows, or even yelling at the screen when Hannibal unfolds its latest horrors. But I keep coming back because I trust the brain behind the gore. It took some guts for me to start — but the occasional nightmare is a price I'm willing to pay for watching one of the most inventive, well-acted, and strangest shows on television.
|
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https://thedispatch.com/article/donald-trump-is-no-hannibal-lecter/
|
en
|
Donald Trump Is No Hannibal Lecter
|
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[
"Kevin D. Williamson",
"David M. Drucker",
"Michael Warren",
"Charles Hilu",
"Mary Trimble",
"Grayson Logue",
"James P. Sutton",
"Peter Gattuso",
"Jamie Weinstein"
] |
2024-08-03T06:41:00+00:00
|
An old friend's lessons on snobbery. - Kevin D. Williamson - Start a free trial today for full access.
|
en
|
The Dispatch
|
https://thedispatch.com/article/donald-trump-is-no-hannibal-lecter/
|
“Do everything that’s proper; I go in for that. Excuse my being so patronising. You say you don’t know me; but when you do you will discover what a worship I have for propriety.”
“You are not conventional?” said Isabel, very gravely.
“I like the way you utter that word! No, I am not conventional: I am convention itself.”
—The Portrait of a Lady, Henry James, 1881
Maybe he has the two senses of the word asylum conflated in that mildewy garbage bag full of New York City subway rats he calls a brain.
Why else would Donald Trump be talking so much about Hannibal Lecter?
E. flippin’ g.:
They’re coming from all over the world, from prisons and jails, and mental institutions and insane asylums. You know, they go crazy when I say, ‘The late great Hannibal Lecter,’ okay? They say, ‘Why would he mention Hannibal Lecter? He must be cognitively in trouble.’ No, no, no! These are real stories. Hannibal Lecter from Silence of the Lamb. [sic] He’s a lovely man. He’d love to have you for dinner.
That joke was old in 1991, which may be the year Trump is stuck in. (Or maybe he is back in the 1980s, but not the 1950s, contra Maureen Dowd—there were no spray tans in the Eisenhower era.) People are always going on about “representation” in media. Polynesians have Moana, the Powhatan have Pocahontas (like it or not), and Lithuanian-American cannibal psychiatrists have Hannibal Lecter, who seems to be hiding out in Donald Trump’s head after escaping from the asylum—which strikes me as not an obvious improvement in his living situation.
The thing is, Hannibal Lecter is an exemplary character for our political times.
Or he was, anyway. Thomas Harris—writer of the novels that inspired the movies that inspired the television series that inspired the (I assume) action figures and board game—is one of those authors (and auteurs) who cannot be trusted with their own legacies. George Lucas is one of these, but, if you want a more highfalutin’ example, consider what a bad editor Walt Whitman was of his own work, turning out revised editions of Leaves of Grass that progressively disfigured the original work of shocking American genius.
The best version of Lecter is the one Harris first gives us, the inexplicable monster of Red Dragon and the more fleshed-out (if you will pardon the expression) epicurean nihilist of Silence of the Lambs. “Nothing happened to me,” he lectures the FBI agent interviewing him. “I happened. You can’t reduce me to a set of influences. You’ve given up good and evil for behaviorism. … You’ve got everybody in moral dignity pants—nothing is ever anybody’s fault. Look at me. … Can you stand to say I’m evil?”
Harris strongly hints that Lecter preys on human beings because he isn’t one, that his superhuman mind (the intelligence and degree of rationality that are “not measurable by conventional means”) and unusual anatomy (the extra finger, the maroon eyes) announce him as one step beyond the rest of us on the evolutionary ladder, Homo post-sapiens. Unfortunately, Harris and his epigones later fell victim to the impulse to moralize and psychologize Lecter, who turns out, in the end, to be the good sort of serial killer, who kills only those who somehow deserve it, if only for being rude. By the end, the character is only distantly related to the predator who, when dosed with sodium amytal by the FBI and asked about the whereabouts of a missing Princeton student, replies with a recipe for dip.
What Hannibal Lecter is not is a democrat. (Note the lowercase d, please—I do not mean this in a partisan sense.) Harris eventually makes him a literal aristocrat (of Sforza and Visconti extraction by way of Lithuania), but even plain old Dr. Lecter of Baltimore is a man who believes in—and sometimes homicidally enforces—classes and distinctions. He relieves the local orchestra of substandard musicians, torments a bent cop about his family’s scandalous history, and hunts rednecks for sport.
He is a more serious and sanguine version of W. Somerset Maugham’s ridiculous snob in The Razor’s Edge, who says on his deathbed:
We know from Holy Writ that there are class distinctions in heaven just as there are on earth. There are seraphim and cherubim, archangels and angels. I have always moved in the best society in Europe and I have no doubt that I shall move in the best society in heaven. Our Lord has said: The House of my Father hath many mansions. It would be highly unsuitable to lodge the hoi polloi in a way to which they’re entirely unaccustomed. … Believe me, my dear fellow, there’ll be none of this damned equality in heaven.
The snob in me notes that redundant “the” before hoi polloi, and also very much wants to explain to you that snob doesn’t mean what you probably think it does: A snob is not a haughty aristocrat but a person of modest origin (snob comes from an old word for cobbler) who affects aristocratic manners or tastes. But whether we’re talking about ordinary snobs or Henry Brooks Adams, people who notice certain kinds of social distinctions or who insist upon some undemocratic artistic or intellectual standard make a certain kind of man intensely uncomfortable.
We are permitted to notice some distinctions and to apply some standards but not others. An American man in Anno Domini 2024 is allowed to have very strong opinions about excellence in basketball players, for example, but not in cellists. You are allowed to say that you think Taylor Swift is superior to Dua Lipa but not that modern popular music is by and large primitive crap meant to appeal to people who have had no musical education. The notion that taste and judgment come from education and cultivation is dismissed as something important only to effete snobs who cannot feel the sublime joys that are natural to a Real American™ and who just don’t get boot-scootin’ or “brat” or whatever.
Donald Trump is, of course, a far cry from Hannibal Lecter—he is in every way an inferior man, but especially when it comes to matters of taste. Trump famously subsists on McDonald’s and KFC (a corporation so profoundly ashamed of its product that its officers took the words fried chicken out of the company name) and other junk that, as Lecter put it, “isn’t even food as I understand the definition.” Lecter likes the Goldberg Variations (and how has Jonah not published a collection under that title?); Trump likes “Rockin’ in the Free World” (as much as the author of that song despises him) or, if he is feeling uppity, the music from Cats. Trump favors $12,000 Brioni suits that he has trouble buttoning and wears them with ties that hang past his gut, leaving a tail so short he has to use Scotch tape to hold it in place. (He recently started buying longer ties.) Trump despises refinement of any kind and instead revels in vulgarity. The supposedly 30,000-square foot Trump Tower penthouse that is actually less than 11,000 square feet, with the fake gilding and by-the-yard frescos, the knockoff Louis XIV furniture, the general Liberace-by-way-of-Caligula aesthetic, etc. Some men wear a fake Rolex, but Donald Trump is a fake Rolex of a man. His admirers, of course, love that about him.
Trump is, among other things, an assault on the American upper classes’ sensibilities and expectations when it comes to good manners and good taste, not to mention liberal-democratic norms regarding decency in public office, the rule of law, not trying to overthrow the government after you incompetently lose an election to a doddering old turnip who barely could be bothered to campaign against you, etc.
The Democrats, of course, are Osmond from The Portrait of a Lady. They worship convention but feel themselves liberated from any binding moral code when it comes to the pursuit of their own selfish interests.
And where does that leave the American voting public? In need of advice and consolation from Hannibal Lecter, of course, and he offers these words of wisdom: “I have followed with enthusiasm the course of your disgrace and public shaming. My own never bothered me except for the inconvenience of being incarcerated, but you may lack perspective.”
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5824
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dbpedia
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3
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https://www.apotpourriofvestiges.com/2013/02/hannibal-2001-english-filmmaker-ridley.html
|
en
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Hannibal (2001): English filmmaker Ridley Scott's psychological thriller with a strong intellectual appeal
|
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Hannibal is a 2001 psychological thriller film directed by Ridley Scott starring Anthony Hopkins, Julianne Moore, Gary Oldman and Giancarlo Giannini.
|
https://www.apotpourriofvestiges.com/favicon.ico
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A Potpourri of Vestiges
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https://www.apotpourriofvestiges.com/2013/02/hannibal-2001-english-filmmaker-ridley.html
|
A masterwork richer than The Silence of the Lambs
A Potpourri of Vestiges Review
By Murtaza Ali
Featured in IMDb Critic Reviews
Hannibal (2001)-By Ridley Scott
Our Rating: 9.0
IMDb Ratings: 6.6
Genre: Crime | Drama | Thriller
Cast: Anthony Hopkins, Julianne Moore, Gary Oldman
Country: UK| USA
Language: English | Italian | Japanese
Runtime: 131 min
Color: Color (Technicolor)
Summary: Hannibal returns to America and attempts to make contact with disgraced Agent Starling and survive a vengeful victim's plan.
Hannibal is a 2001 psychological thriller directed by renowned English filmmaker Ridley Scott. Hannibal, an adaptation of the 1999 novel of the same name—third in the “Hannibal Lecter" series—by Thomas Harris, is the much awaited sequel to the highly acclaimed 1991 film The Silence of the Lambs, directed by Jonathan Demme. While Anthony Hopkins reprises his role of Hannibal “the cannibal” Lecter, the part of FBI special agent Clarice Starling is played by Julianne Moore. Hannibal opened to mixed reviews, drawing more flak than praise. But, why did Hannibal fail to match the success of its precursor? Was it the absence of Jonathan Demme or Jodie Foster? Or was it Anthony Hopkins who failed to recreate the magic? Was the movie a bit too shallow, or perhaps a bit too complex for the liking of the audience? Did Ridley Scott fail to match the high standards set by Demme? But, Ridley Scott has always been a more accomplished filmmaker than Jonathan Demme. Those who have watched his popular works like Alien (1979), Blade Runner (1982), or Gladiator (2000) would agree. The purpose of this article is to dissect Hannibal and try and find answers to all the above questions and more. But, first it’s essential to throw some light on the movie’s plot.
Anthony Hopkins as Hannibal Lecter in Ridley Scott's Hannibal
The story of Hannibal picks up ten years after the events depicted in The Silence of the Lambs. Clarice Starling, now an FBI veteran, heads over a drug raid to capture the notorious Evelda Drumgo—an HIV-positive drug dealer whom Starling had arrested on previous two occasions. Seeing that Evelda is carrying her baby, Starling orders to call off the raid but in spite of her instructions one of the officers leading the raid charges ahead precipitating a shootout. Things go haywire as Starling is left with no option but to shoot Evelda (with her baby held in a carrier across her chest) in self-defense. Five people are killed during the incident including an officer. Starling is unjustly blamed for the macabre incident by Justice Department official Paul Krendler (Ray Loitta) who has been holding a grudge against her even since she had rejected his sexual advances a few years prior to the incident. Starling is publicly disgraced and is reprimanded but is reprieved thanks to the intervention of Mason Verger (Gary Oldman). Verger is the only surviving victim of Hannibal Lecter. His encounter with Lecter had left him horrifically disfigured and paralyzed. The sole purpose of Verger’s life is to exact a revenge against his malefactor. Lecter had punished Verger for his pedophilic behavior in his own characteristic fashion. Verger, a wealthy businessman, enjoys a strong political clout which he uses from time to time for personal and professional favors. Verger bails out Starling because he feels that she could come handy in helping him trace Lecter.
Julianne Moore as Clarice Starling in Hannibal
Meanwhile, Lecter comes to know about Starling’s plight and decides to write her a letter. Lecter now resides in Florence, Italy where he operates under the alias Dr. Fell. Following the mysterious disappearance of the curator of the Capponi Library, Dr. Fell seems to have positioned himself well to become the next curator. But, Chief Inspector Rinaldo Pazzi of the Questura who is investigating the case grows suspicious of Dr. Fell. He soon learns that Dr. Fell is none other than Hannibal Lecter. He also comes to know about the huge reward that Verger has promised to pay anyone who helps him capture Lecter alive. But, before Pazzi could execute his plan, he is brutally murdered by Lecter. Lecter flees from the scene and subsequently returns to the United States. Lecter has always been fascinated by Starling’s sense of pride and her righteousness. Her fortitude reminds him of his own courage that has allowed him to face the endless adversities of the world. On his return to the US, Lecter tries to renew his acquaintance with Starling but before he could do that he must first thwart Mason Verger’s evil plan. As Starling is surrounded by demons, both from her past as well as present, she too must up the ante in order to prove her loyalty to the FBI, once and for all.
Gary Oldman as the horifically disfigured Mason Verger
In Hannibal, the team of Ridley Scott and David Mamet (movie's screenplay writer) offer a plot that’s much thicker than Demme’s The Silence of the Lambs, characters that have a much greater depth, motifs that surpass the usual realm of a typical Hollywood Thriller (where entertainment is usually limited to the acting and story). While Demme’s Starling is a cold, calculated professional who operates with a kind of mechanical precision, Scott’s Starling has a lot more to offer. She is consciously aware of her sexuality and has an air of fallibility that Demme’s Starling is completely devoid of. Demme’s Lecter is essentially a boogeyman, but Scott’s Lecter is much more than a coldblooded psychotic genius with a taste for human flesh. He is not devoid of human emotions and is capable of compassion and perhaps even love. Demme’s film which was at best was a psychological thriller pales in compassion to Scott’s work which has added elements of philosophy (the Judas syndrome in human relationships: Verger says to Starling, “you are not afraid of my face but you were afraid when I spoke of God”), literature (Dante’s Divine Comedy), and music (the composer Hans Zimmer uses Dante's sonnet, Strauss's The Blue Danube, and Patrick Cassidy at different points in the movie). As a matter of fact, music forms an integral part of Scott’s films. Scott says of music, “It is the final adjustment to the screenplay, being able to also adjust the performance of the actors in fact.” The movie also has an undercurrent of dark humor which is most evident during some of the graphic killing sequences depicted in the movie.
Giancarlo Giannini (Left) as Rinaldo Pazzi in Hannibal
Scott and Mamet present an unusual take on the classical theme of “Beauty and the Beast” wherein a heinous murderer opens up another man’s skull merely to teach him a lesson in propriety (especially on how to treat women) and even goes to the extent of chopping off his own limb for someone he likes enough not to hurt. Hannibal’s greatest undoing is that it has a considerably large repertoire of sequences that can be deemed graphic which makes it appear gruesome, even in comparison to The Silence of the Lambs. But unlike the likes of Saw (2004) or Hostel (2005), there's is a certain element of grace with which these scenes are carried out that elevates the movie in the direction of art. The masses are repulsed by such an outrage of gore and violence, but they are troubled even more by the complexities that one often associates with art. An average viewer is not generally wooed by elements of psychology, philosophy, music or literature, for they have a tendency to be spoon-fed and are easily put off by a filmmaker who tries to test them in any manner.
Anthony Hopkins and Julianne Moore in Hannibal
Perhaps, it’s for this reason that Scott’s simplistic works like Alien, Blade Runner and Gladiator are ubiquitously acclaimed while his most mature work by far, “The Duellists” still remains little known. Scott and Mamet chose to alter the ending of Hannibal (from that offered in the novel). They must have noticed the balance of the movie shifting towards the art side. The novel’s ending is clearly more satisfying wherein Lecter and Starling end up as lovers. It obviously would have been too bold an ending to depict in the movie (a once brave and dedicated female FBI officer losing her faith in the system and choosing to defect). It would have badly hurt the patriotic sentiments of most Americans. But even Hopkins seems to have favored the novel’s ending. When asked in an interview on the subject of whether or not he believed the idea of Starling and Lecter ending up as lovers, Hopkins said, “Yes, I did. Other people found that preposterous. I suppose there's a moral issue there. I think it would have been very interesting had she gone off, because I suspected that there was that romance, attachment there, that obsession with her.”
A Still from Ridley Scott's Hannibal
Overall, Hannibal is a formidable work of cinema that definitely deserves more attention that it has got over the last decade. Hannibal is quite rich in its depiction of philosophy, psychology, literature and music, and perhaps that’s what elevates it above the league of typical Hollywood-like, run-of-the-mill thrillers. While the movie is not limited to acting, it surely is one of the strongest points of the movie. Julianne Moore is alluring in the role of Clarice Starling and plays the part with delicate precision. Anthony Hopkins is absolutely breathtaking in the role of Hannibal Lecter. His Florence scenes are an absolute treat to watch. The ease and flowery elegance with which the verses of Dante’s first sonnet pour out of his mouth is simply awe-inspiring. The aplomb with which Hopkins delivers the scene in which Dr. Fell is required to present a lecture on Dante’s version of Judas’ avarice to the audience in the Capponi Library is the mark of a performer working at the height of his power. Moore and Hopkins are offered great support by the rest of the cast which includes likes of Gary Oldman, Lay Loitta and the renowned Italian actor Giancarlo Giannini who is brilliant in the role of Chief Inspector Rinaldo Pazzi. Hannibal is equally brilliant on the technical front. The sublime use of special effects deployed to film the brain-eating scene testifies the very fact. Hannibal may easily unsettle a casual viewer, but a keen eyed viewer who is willing to indulge himself will be able savor it at different levels. Highly recommend!
Readers, please feel free to share your opinion by leaving your comments. As always your feedback is highly appreciated!
References:
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Reviewed by Murtaza Ali Khan on 11:46:00 PM Rating: 5
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https://letterboxd.com/journal/michael-mann-watchlist-interview/
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The Official Michael Mann Watchlist: the Mann himself shares his favorite films and an archive of life lessons • Journal • A Letterboxd Magazine
|
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2024-08-01T00:00:00
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To celebrate the launch of Michael Mann Archives — Directing Ferrari, the filmmaker (and new Letterboxd member) sits down with Mia Lee Vicino for an in-depth conversation about his favorite movies and life lessons gleaned from decades of directing. Plus: Al Pacino’s improv skills!
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en
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https://letterboxd.com/journal/michael-mann-watchlist-interview/
|
Calling all mojito fiends: Michael Mann has officially joined Letterboxd. Not only that, he’s launched Michael Mann Archives — Directing Ferrari, a monumental resource offering insight into his pinpoint-precise creative process. Access includes his annotated script of Ferrari, topsheets of intricate character backstories, twenty mini-documentaries about the biopic’s production (including one about that horrific Mille Miglia crash), storyboards and more invaluable nuggets of knowledge for aspiring filmmakers and/or Mann stans (Michael Mann Facts, this one’s for you).
“I wanted to tell the story of everything that goes into the making of the film,” the director tells me during our conversation at the American Cinematheque’s historic Aero Theatre. “Mistakes I’ve made or problems or issues that I’ve had, that I’ve solved—how I go about doing what I do. I think there’s kind of an obligation to pass that on. I know I’m the beneficiary of exactly that—I witnessed other people directing very infrequently and picked things up.”
In addition to the Archives, Mann has gifted us a list of his favorite films, including some classics that have informed his own work, some contemporaries that impressed his high standards and one snail-centric story that he enjoyed with his eight-year-old granddaughter. After chatting with him about his selections—as well as his own filmography—I gleaned the following eight life lessons.
1. Don’t judge a snail by its shell
In a lengthy list full of classic heavy hitters, there’s one in particular that immediately stands out: Turbo. Yes, the 2013 animated racing snail movie. Higher in quality than its 2.5-star Letterboxd rating suggests, Turbo shares several parallels with Mann’s own Ferrari: immersive and high-octane racing sequences, a climactic crash and dynamic characters (Paul Giamatti’s voice performance as Turbo’s neurotic brother Chet is a major highlight).
“I’ve got a precocious eight-year-old granddaughter, that’s why Turbo,” Mann says with a laugh. “We were having pizza and she got to pick whatever she wanted to watch, and she picked Turbo, so we saw this. I was blown away by the animation. It’s got Ryan Reynolds in the voice of the snail. The writing is fantastic… It’s not because I’m a fiend about racing, but I know a lot about it, and they happen to get all the racing really right. But putting aside the racing, I thought it was hilarious and just really, really good quality animation.”
2. Even serious directors crack up on set or: always let Al Pacino cook
Another immediate stand-out: Poor Things. The most contemporary film on the list, Yorgos Lantimos’s picture contains a sense of whimsy and absurdity that is largely lacking from Mann’s own body of work. Curious (and thrilled!) about its inclusion, I asked the director about it, and he tied it into another of his picks, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.
“[Poor Things] bears a very close relationship with Dr. Strangelove,” he says, “because Strangelove deals with serious considerations, beginning with Eisenhower denouncing the industrial military complex. Poor Things is dealing with gender politics, but it does so in such a brilliant way of taking it really to the heart of issues and extremes, and then making something totally new off the top of that. I love the film.”
In regards to Dr. Strangelove, Mann comments, “They must’ve had a ball making that movie,” and he wonders aloud “how Kubrick could have made it without people just breaking down and cracking up,” before admitting that, while making Heat, this “happened to me a couple of times, working with Al Pacino particularly. In one particular scene I was operating, I had to walk away from the camera.” (Sorry, De Niro—looks like Pacino is the true king of comedy).
The moment in question is when Pacino’s character, Detective Vincent Hanna, goes into the chop shop and talks with Ricky Harris’s character Albert, who says his brother will meet him. Mann recalls, “And he looks under the table to see if [he’s there]: ‘He’s not here right now, is he?’ ‘No, he is in Philadelphia.’ Then [Pacino] started breaking into a song. Some of which was improvised.”
This made me want to know: aside from Pacino’s improvisation, what other films or performances make Michael Mann laugh? “Listen, there are a couple of lines in Sweet Smell of Success which are devastatingly funny,” he answers. “Jonathan Winters kills me all the time. Another example of that is Robin Williams. When Robin Williams gets into one of these stream-of-consciousness things. He was friendly with Jonathan Winters—on YouTube, there are some sessions between the two of them together that are just wild, too.”
3. Dialectics: the key to directing
In an interview with Marc Maron, Mann had observed that “directors from Chicago who grew up in the suburbs make comedies. Directors from Chicago who grew up in the city like Billy Friedkin or myself, we do not make comedies.” This explains his propensity for serious-minded opuses, such as the first film on his list: Battleship Potemkin.
“It’s probably informed what I do in a lot of different ways,” he explains of Sergei Eisenstein’s seminal 1925 Russian war drama. “One of the things that Eisenstein talked about was dialectical montage. They started building the dialectics that also show up in baroque music, whether you’re talking about Bach or, maybe even earlier, Thomas Tallis.”
5. Trust your killer instincts
From The Insider to Thief to Ferrari, Mann’s movies often center around highly intelligent men unable to untangle the intense demands of their work from their personal lives. This motif is also exhibited in Manhunter, his adaptation of the novel Red Dragon, starring William Peterson as FBI agent Will Graham and Brian Cox as the infamous Hannibal Lecter (spelled “Lecktor” in this film).
In addition to the change of Hannibal’s surname, Mann took other creative liberties: “The serial killer, Dollarhyde, in Manhunter is not based on Dollarhyde,” he reveals. “It’s instead based on somebody I met named Dennis Wayne Wallace, who, when I met him, was a serial killer in Vacaville, who killed about three or four people. There’s a whole long story about how I wound up crossing paths with this guy, but we struck up a relationship. This man was exactly where he belonged, which was in prison for the rest of his life. There’s no doubt about any of this.”
He continues, “But there’s a theme in Manhunter. It’s that duality that is not a contradiction. It’s there when Billy Peterson as Graham says to Dennis Farina as Jack Crawford, ‘As a child, my heart goes out to the killer,’ because he knows that someone like Dollarhyde, and in the case of Dennis Wayne Wallace, had been a battered infant, not just a battered child. Horrendous things had been done to him as an infant and as a child, and that produced this killer. So, ‘My heart goes out to him as a child. As an adult, I’d blow the sick fuck out of his socks without thinking twice about it.’ And then he turns to Farina, almost as if he’s channeling Hannibal Lecktor, and says, ‘Does that upset you, Jack?’ with this kind of flattened, affected tone to his voice, which is very threatening. So, that contradiction… that is the true complex nature of the reality.”
6. Support your contemporaries
While Memories of Murder and I Saw the Devil—two Korean films about serial killers—both came out years after Manhunter, they made enough of an indelible impression on Mann that they notched spots on his list. The director says he makes it a habit to reach out to his contemporaries when their work impresses him: “I remember seeing Incendies by Denis Villeneuve, and I thought I could, at that point, write exactly where his career was going to go,” he remembers. “I thought it was a brilliant, brilliant piece of work, and I made an effort to contact him.”
Mann goes on to cite the films of Alejandro G. Iñárritu (“I was so blown away by Biutiful when I saw it.”), Guillermo del Toro (“Pan’s Labyrinth is also a real favorite, because of the use of fairy tale as opposed to fable.”) and Kathryn Bigelow (The Hurt Locker) as stand-outs. In regards to the latter’s Best Picture winner, he says, “It’s a fascinating, fascinating film. [Jeremy] Renner’s performance is brilliant, and it takes us on such a personalized journey of somebody who does extraordinarily dangerous work, and it gets progressively more dangerous as his tour is about to end, and then he’s able to leave.”
7. Don’t be ashamed of your blindspots
At this point in the conversation, it’s starting to seem like Mann has maybe seen every war film ever made. But even the greats have their blindspots, and he reveals that he’d only recently gotten around to watching 1953 Best Picture winner From Here to Eternity. It instantly became a new (old) favorite. “I had never seen the film until about four or five weeks ago,” he tells me. “It’s special. I was born in 1943. My father was a combat veteran in the Second World War in Europe with the Battle of the Bulge. I have memories of being ten-years-old in the ’50s, and [everyone] started looking at these films, From Here to Eternity, or, I don’t know, reading John O’Hara or The Asphalt Jungle.” [Of note, the film adaptation of The Asphalt Jungle (featuring a first-time Marilyn Monroe) also made Mann’s list.]
The ’50s were a formative time for mini Mann, and he recalls how the era harbored “an unsentimental, dark understanding of human nature and relationships,” which was laid bare in Burt Lancaster’s army sergeant character. “He’s complex,” Mann says. “He has major deficits in his understanding of the relationship between Deborah Kerr and her husband. Those are very interesting, complex relationships that you wouldn’t expect in American Hollywood cinema in the 1950s if you were looking at American Hollywood cinema from the point of view of the 1930s. That’s what was stunning to me.”
“What I loved about From Here to Eternity,” he explains, “is there’s a subconscious awareness of everybody making these films that we’ve just come from this horrendous world-shattering event. It’s affected everybody’s lives. Whether it’s a war film or not a war film, it means a couple of things: one is that there’s usually a drive into tough political questions, hence neorealism in Italian cinema and neorealism in American cinema. In France, it became the hopelessness after the revelation of the Holocaust, particularly the caving of the French armies… It was the origin of existentialism, which influenced cinema.”
8. Movies belong on the big screen!
On the topic of influencing cinema, I wondered how it’s felt for Mann to witness new generations of audiences embracing his films so wholeheartedly—Miami Vice has its own podcast, Heat’s Waingro recently performed stand-up on John Mulaney’s Everybody‘s in LA and Heat reigns on the Letterboxd Top 250. “It’s very exciting,” he replies. “There was a theatrical screening of Heat at the Egyptian, mostly a younger audience, and a question was asked: ‘For how many of you is this the first time you’re seeing it on a big screen?’ It was probably about 85 percent of the audience who had never seen it on the screen, and we make these things for the big screen.”
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https://wonder.ph/popculture/the-silence-of-the-lambs-is-the-best-horror-film-of-the-21st-century/
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The Silence of the Lambs Is The Best Horror Film of All Time
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2020-07-01T09:05:56+08:00
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Highly intelligent, cunning and well-spoken, the forensic psychiatrist with a genius IQ, Dr. Hannibal Lecter, is the demented psychopath from "Silence of the Lambs." An appreciation post for the '90s cult classic on Wonder.
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en
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Wonder Mag PH
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https://wonder.ph/popculture/the-silence-of-the-lambs-is-the-best-horror-film-of-the-21st-century/
|
An appreciation post for the '90s cult classic and some fascinating facts before streaming it
My unrelenting obsession with thrillers—and serial killers—began with Dr. Hannibal Lecter. Highly intelligent, cunning and well-spoken, the forensic psychiatrist with a genius IQ from Baltimore has become a household name. Before Sir Anthony Hopkins played the honorable Pope Benedict XVI in The Two Popes and became an instant internet sensation, he was the sinister cannibal.
This year, CBS picked up the 1991 film (ironically released on Valentine's Day) for the crime TV series Clarice, obviously alluding to Clarice Starling, the FBI agent who had quite the complicated relationship—not platonic but not romantic either—with the doctor. Before we get our hopes up (or become resigned to the fact that Jodie Foster can't ever be replaced), let's take a look back at the film masterpiece.
RELATED: A Definitive List of the Best True Crime Films and TV Series
The Allure of Hannibal Lecter
Now a blazing media franchise, the film started as an adaptation of the bestselling 1988 novel by Thomas Harris of the same name. It has inspired many a pop culture references and, not to mention, genius Halloween costumes. Through the years, it's also become a hit TV series Hannibal, highlighting the relationship between FBI criminal profiler Will Graham and the nefarious Dr. Lecter.
The formidable psychiatrist, a great conversationalist with exquisite taste, is incarcerated for his cannibalistic crimes. Inside prison, he assists the FBI in finding other serial killers like himself. Let's not forget Agent Clarice Starling, heavily inspired by retired law enforcement officer, detective and criminal profiler Robert David Keppel. In the film, he becomes somewhat of a “respected” mentor but still cleverly manipulates both Clarice and members of the police force.
Behind the Scenes
The Silence of the Lambs is one of the three films in history that received the big five in the Oscars—Best Director, Best Actor, Best Picture, Best Actress, Best Screenplay—along with One Flew Over the Cuckoo's Nest and It Happened One Night.
In a viral interview with Graham Norton, Jodie Foster shared that she has never spoken with Anthony Hopkins out of fear; she intentionally avoided him during the filming process. Those intimate one-on-one scenes are staged always behind a partition, a key visual technique inspired by renowned director Alfred Hitchcock. Strangely enough, Foster wasn't the first choice for the role of Clarice by Director Jonathan Demme; it was actually Michelle Pfeiffer (Scarface), but she turned it down because she found the script too disturbing.
Jame Gumb also known as “Buffalo Bill” (Ted Levine), the harrowing serial killer who skins women to make himself a suit, was actually inspired by a number of real-life psychopaths. The FBI's antagonist was highly influenced by Ted Bundy, Jerry Brudos, Gary Heidnik and Edward Gein. And for the curious ones, the song behind his iconic dancing scene is Goodbye Horses by Q Lazzarus. (He still makes my skin crawl.)
RELATED: QUIZ: Which Horror Movie Villain Are You?
Believe me, I've watched it all it all—Se7en (a fantastic contender, by the way), Primal Fear, Zodiac and the long list goes on. Whether you're streaming it for the first time or rewatching it, The Silence of the Lambs is an unimaginable treat. (Don't forget to watch Hannibal and Red Dragon while you're at it!) The unlikely triumph will span generations, and you best believe I'm still waiting for it to be part of Netflix's diverse catalog.
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https://www.moriareviews.com/horror/hannibal-2001.htm
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https://www.cinemablend.com/new/Vin-Diesel-Moving-Forward-With-His-Hannibal-Conqueror-Trilogy-34773.html
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en
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Vin Diesel Moving Forward With His Hannibal The Conqueror Trilogy
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2012-12-21T14:20:56+00:00
|
Vin Diesel has been trying for years to make another Riddick movie, and just this week it was announced that Universal Pictures is planning to release the film next fall. But now another one of Diesel
|
en
|
CINEMABLEND
|
https://www.cinemablend.com/new/Vin-Diesel-Moving-Forward-With-His-Hannibal-Conqueror-Trilogy-34773.html
|
Vin Diesel has been trying for years to make another Riddick movie, and just this week it was announced that Universal Pictures is planning to release the film next fall. But now another one of Diesel's long-awaited passion projects is finally getting somewhere. The actor has been working for years to try and make a trilogy about Hannibal Barca, aka Hannibal the Conqueror, and today it seems he got his first yes.
Diesel has written a new post on his Facebook wall - where he tends to share a lot of information about the details of his career - and in doing so has informed his fans that he is starting to get attention for his Hannibal project. The update says,
The post came along with an image of Diesel standing next to an elephant, presumably representing the creatures that Hannibal used during his military campaigns.
Obviously what's missing here are the key details. We have no idea which studio told him, "yes," we don't know if there's a script ready for the project or if one needs to be written, and it's not clear if Diesel has a director in mind. The actor is planning to star in the movie as Carthaginian leader, but that's pretty much where the information stops.
Are you looking forward to seeing Vin Diesel hop up on the back of a war elephant and try to conquer the Mediterranean? Let us know in the comments below.
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https://www.imdb.com/title/tt0212985/
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Hannibal (2001)
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2001-02-15T00:00:00
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Hannibal: Directed by Ridley Scott. With Anthony Hopkins, Julianne Moore, Gary Oldman, Ray Liotta. Living in exile, Dr. Hannibal Lecter tries to reconnect with now disgraced F.B.I. Agent Clarice Starling, and finds himself a target for revenge from a powerful victim.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0212985/
|
Many people were disappointed or flat-out disgusted by Ridley Scott's follow-up to "The Silence of the Lambs." I can certainly understand their disgust, but I preferred this to its Oscar winning predecessor. It had been a long, long time since a movie made me turn from the screen in genuine horror, and I didn't believe it was even possible. "Hannibal"'s deservedly controversial climax took me by surprise. It may have been revolting (okay, it was very definitely revolting) but so few movies these days have any lasting impact and I appreciate that this one did. And it is, after all, about a cannibal, is it not? At some point in a series of films about a man of Lector's inclinations, we should see him at work.
Of course, the horror of the climax is effective because the rest of the film is so good. Hopkins, a little chunkier than the last time we saw him in this role, positively exudes menace especially in his final confrontation with Pazzi (an excellent Giancarlo Giannini whose sad eyes make him the most sympathetic character in the film). Then there's Gary Oldman's Mason Verger who is so contemptible that he never elicits sympathy no matter how he suffered at the hands of Lector. And Julianne Moore is an improvement over Jodie Foster who I have always believed was overrated.
But the best thing about "Hannibal" is the atmosphere in which Scott and his team envelop the story. A cloud of dread hangs over this film, and beautiful Florence, Italy, though still beautiful, appears haunted by Lector's very presence in the city.
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User Reviews
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Common Sense Media improves the lives of kids and families by providing independent reviews, age ratings, & other information about all types of media.
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https://www.commonsensemedia.org/movie-reviews/hannibal/user-reviews/child
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https://fathersonholygore.com/2015/09/03/hannibal-2001-review/
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Ridley Scott and His Flawed Yet Underrated Hannibal
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2015-09-03T00:00:00
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https://www.youtube.com/watch?v=Lr3OavheNu0 Hannibal. 2001. Directed by Ridley Scott. Screenplay by David Mamet & Steven Zaillian; based on the novel of the same name by Thomas Harris. Starring Julianne Moore, Anthony Hopkins, Gary Oldman, Ray Liotta, Frankie Faison, Giancarlo Giannini, Francesca Neri, Zeljko Ivanek, and Hazelle Goodman. MGM/Universal Pictures/Dino De Laurentiis Company. Rated R. 131 minutes. Crime/Drama/Thriller…
|
en
|
Father Son Holy Gore
|
https://fathersonholygore.com/2015/09/03/hannibal-2001-review/
|
Hannibal. 2001. Directed by Ridley Scott. Screenplay by David Mamet & Steven Zaillian; based on the novel of the same name by Thomas Harris.
Starring Julianne Moore, Anthony Hopkins, Gary Oldman, Ray Liotta, Frankie Faison, Giancarlo Giannini, Francesca Neri, Zeljko Ivanek, and Hazelle Goodman. MGM/Universal Pictures/Dino De Laurentiis Company. Rated R. 131 minutes. Crime/Drama/Thriller
★★★★ Recently the Bryan Fuller helmed Hannibal series ended over at NBC, so I’ve been going back over the wonderful films to revisit the previous incarnations of Dr. Lecter in the movies.
While not everyone is a fan of the book Hannibal, nor are they keen on Ridley Scott’s adaptation penned by David Mamet/Steven Zaillian, I’m actually a fairly ardent fan of both. Something I always loved about the Thomas Harris novels was the fact they’re truly disturbing in a get-under-the-skin-and-crawl type of way; from Francis Dolarhyde in Red Dragon to Buffalo Bill out of The Silence of the Lambs, everything in those pages is pure dread and macabre storytelling.
When it comes to the film, it’s too bad most of Mamet’s adaptation was re-hauled completely by screenwriter Steven Zaillian; perhaps if more Mamet remained, the script would’ve appealed more to some of the detractors.
Either way, this is a pretty damn good adaptation regardless of the few flaws. An at times gory thriller, there is much darkness and disturbing subject matter within this Ridley Scott directed film. Though not all of Harris made it into the film, both because of Scott wishing to make changes and in the name of time (this is already over two hours), I do find the movie to be faithful in terms of how chilling much of the novel itself was, and I believe most of this did cross over.
After the events of The Silence of the Lambs, Dr. Hannibal Lecter (Anthony Hopkins) is on the run, making his way across the globe. Back in the United States, Clarice Starling (Julianne Moore) is still going strong in the FBI. Her most recent case has taken her into the way of danger, as a fellow agent puts everyone at risk. Of course, the rabid sexism of the patriarchal Federal Bureau of Investigations takes Starling for a ride. Disgraced and with almost every single back turned to her, Clarice does her best to get by. Though, it isn’t easy with people like Paul Krendler (Ray Liotta) on her back.
Then, a letter arrives from Europe, smelling of fine perfumes and other fragrances. It is addressed to Clarice. It is from Hannibal. Rushing to figure out where he might be, Clarice tries to navigate the choppy waters of her current job situation. But even worse than the chauvinist Krendler is the presence of an old victim of Lecter’s from his earliest macabre work: a terribly disfigured Mason Verger (Gary Oldman) whose lust for revenge, old money and government connections allow his reach to extend far and wide. In Europe, the sly Lecter tries to avoid arrest by a rogue lawman hoping to collect a big bounty, Inspector Rinaldo Pazzi (Giancarlo Giannini).
Only after the tables turn does Starling realize her only hope of surviving it all might be Hannibal.
Even though many things from the original Thomas Harris novel didn’t make it into the final product of the film, there is a still grisly, nasty heart at the center of its being. Some things removed: the novel’s ending; Margot Verger the lesbian bodybuilding sister of Mason; plus, Mason’s predilection for molesting children and drinking their tears; the original death Mason endures and the harvesting of his sperm for Margot to use to have a child with her lover; and other things such as the absence of Jack Crawford.
While a few things can be forgiven, I don’t know why they chose to keep Crawford out of it, nor do I see how the ending of the film is any better than that of the Harris novel. First – Crawford is an important figure in the life of Clarice, almost like a part-time angel watching over her shoulder and even more at times, so his absence is a little strange to me; I understand there were time constraints, however, Jack could’ve easily been planted into the story at the beginning especially when Starling experienced blowback from the FBI. Second – the ending of the film is fun, but there’s such a tangled, creepy and unsettling aspect to the Harris ending: in his novel, Hannibal first tries to make Clarice into a living version of his sister Mischa, then at the end they run away together in a fit of madness and love. Now, I know some weren’t fans of the novel’s ending. Regardless I found it perfect, to end things in a strange, unexpected way. But is it really unexpected? Can you say there were no inklings or hints of a romance between Hannibal and Clarice? Even in SOTL, there is a strange connection between them, almost like a man lusting after a woman who doesn’t yet know she’ll fall for him down the road. Either way, I think it could’ve potentially set up another film if Harris were ever interested in exploring more of the story. And not to mention, it would’ve blown audiences away to see Clarice take off in the night with Lecter.
Some things I loved.
Gary Oldman plays Mason Verger perfectly. If you didn’t know it was him by looking on IMDB or in the credits, there’s a high chance of walking away without ever knowing. Virtually unrecognizable under prosthetics and make-up, Oldman falls into an upper class accent mixed with disfigurement, religious fervour, as well as a great deal of charisma. There are times you want to like Verge. Others, you understand the nastiness in him while hating what it’s producing. Many times you’ll laugh at some of the bits of dialogue from Mason, though, not in a funny way – more so, it’s a macabre and dark comedy from his lips making us kind of root for him. Above all else, Verger is a conflicting character on moral grounds, which makes us lean back and forth. Similar to the character of Lecter.
Then of course, there’s Anthony Hopkins returning with vigour to the world of Hannibal. Giving us another go round with the naughty doctor, Hopkins is almost even quieter, more subdued, more sinister and unnerving than before. Much of the dialogue gives him a chance to twirl us around his finger, sucking each viewer into his evil nature and never once letting us go. Seeing Hannibal in Europe is impressive enough as it is. Add in a spectacular performance by Hopkins, you’ve got yourself an interesting ride along with one of the most well-known villains of the cinematic universe ever.
Aside from performances and characters, Hannibal is at times fairly vicious. Though, if Scott and screenwriter David Mamet were to have kept more of the original source material in the script, it could’ve fallen even deeper into horror than it did. But scenes like the impromptu dinner between Hannibal, Clarice and poor Paul Krendler, the brief flashbacks to when Lecter disfigured Mason, even a very short video of Lecter biting the nurse’s face (a scene only referenced in SOTL) – these are all great examples of horror in a non-horror film. Really, Hannibal is a crime thriller. Yet so many moments bring us into the horror of the Harris universe. I can’t fault Scott, nor Mamet, too much for excluding bits and pieces of the novel because it’s a thick book, lots of plot and plenty of dialogue. However, I would’ve definitely rated this movie even higher if Scott kept some things in. They didn’t have to be totally in tact. He could have only alluded to certain plot points, and so on. Alas, we’re missing some very meaty, properly hideous bits that augment the entire story, and the movie is lacking because of it.
Despite my criticisms, I love Hannibal. It’s a 4 out of 5 star film, all the way. Many will not agree with me and say the movie is trash, an unnecessary sequel, or that it strays too far from the novel of Thomas Harris. I couldn’t care any less, I’ve always thought there was something special about this Ridley Scott film. He adds only a flair all his own, a style nobody else has, and it’s evident right from the opening moments. Again, it would’ve been amazing to see more of the Harris novel find its way into the script, but for what came out I think Scott did justice to SOTL and the character of Hannibal in general, even without a few key pieces. If you’ve never seen it, or are a newcomer to the Lecter universe, do yourself a favour. There is plenty to love and enjoy here. Lots of macabre nastiness from which to find a thrill.
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https://www.imdb.com/title/tt0212985/companycredits/
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Hannibal (2001)
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Hannibal (2001) - Movies, TV, Celebs, and more...
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https://www.slashfilm.com/907444/hannibal-lecter-caused-major-headaches-for-army-of-darkness/
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Hannibal Lecter Caused Major Headaches For Army Of Darkness
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[
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] | null |
[
"Witney Seibold"
] |
2022-06-25T15:58:36+00:00
|
Said headaches were not from the Chianti.
|
en
|
SlashFilm
|
https://www.slashfilm.com/907444/hannibal-lecter-caused-major-headaches-for-army-of-darkness/
|
Some films are connected in ways a casual observer could not possibly fathom. Hollywood is a massive labyrinth of deals, of complex contracts, and of vaguely interconnected equity that can link two seemingly random film projects that couldn't be more different.
That was certainly the case with Jonathan Demme's Academy Award-winning film "The Silence of the Lambs" and Sam Raimi's hyperkinetic shlock horror/comedy "Army of Darkness," each of them classics in their own right, but not exactly a natural double feature. Their connection has to do with some odd financial withholding from Universal, the 1986 film "Manhunter," a kind-of-prequel to "Lambs," and who gets to make movies starring Hannibal Lecter. Sadly, to the dismay of horror fans the world over, the solution of including Ash Williams and Hannibal Lecter in the same film was never proposed. "The Evil of the Dead" would certainly have left a stamp in the cult film world.
According to the exhaustive research provided in Bill Warren's excellent film history book "The Evil Dead Companion" — research that included an interview with "Darkness" star Bruce Campbell — superstar producer Dino De Laurentiis, a longtime luminary in world cinema, nearly undid the making of Raimi's film over a film rights squabble regarding Hannibal Lecter. De Laurentiis, evidently, wanted the Lecter rights so badly, he held up the release of "Army of Darkness," leaving the entire crew feeling worried and powerless.
In 1986, Dino De Laurentiis produced Michael Mann's "Manhunter," based on the novel "Red Dragon" by Thomas Harris. It was the first film to feature the infamous serial killer Hannibal Lecter (changed to Lektor for the film, with Brian Cox playing the role). It remains a common practice to retain the rights to any possible sequels and/or characters when one makes a movie, largely to bank on any possible sequels, but more often to prevent a competitor from taking your property and inserting their own version into the marketplace. Although De Laurentiis retained the rights to Hannibal Lecter, Harris — without asking the producer — wrote a sequel to "Red Dragon" called "The Silence of the Lambs," the film rights to which were bought by Orion Pictures.
De Laurentiis struck a deal to lease the Hannibal Lecter character to Orion in order to make "Silence," and the film went on to win multiple Academy Awards. Orion was very happy, and Hannibal Lecter became a pop culture presence writ large (there were to be three additional Lecter feature films and a cult TV series to boot). When Harris began writing a third Hannibal Lecter novel — the book that was to become the 1999 bestseller "Hannibal" — Universal wisely snatched up the rights right away. While Universal had the rights to make a "Hannibal" feature film (which they would eventually do in 2001), De Laurentiis still owned the character. The story goes, according to "The Evil Dead Companion," that De Laurentiis refused to relinquish the Lecter rights to the studio, leading to their withholding of funds for "Army of Darkness."
De Laurentiis was producing "Darkness" for Universal, so the two entities had a tug o' war over it.
The disagreement between Dino De Laurentiis and Universal led to — natch — a lawsuit. Tom Pollock, the head of Universal at the time, claimed he and De Laurentiis had shaken on a deal (even though there was no paperwork, and De Laurentiis claimed Universal was withholding funds.
Meanwhile, over in their own universe, Sam Raimi, Bruce Campbell, and a cast of skeletons were out on the edge of the Mojave Desert in California, completing their slapstick medieval epic on a 100-day shoot. Raimi had just come off the success of "Darkman," and Universal agreed to fund half of the film's $12 million budget (this, too, is detailed in "The Evil Dead Companion"). The film ended up being large enough to require Raimi, Campbell, and producer Robert Tapert to put huge chunks of their own salaries into the production budget. Even then, some footage from "Evil Dead 2: Dead By Dawn" was reused. Despite the cut corners, "Army of Darkness" came out on the other end shiny and strange and wonderful.
And then, once complete, the film was unexpectedly shelved. Raimi's film unwittingly became a pawn in an argument over who would get to make a Hannibal Lecter sequel. De Laurentiis claimed in his Universal lawsuit that the studio had been pressuring the filmmakers to make "Darkness" on an unreasonable schedule, forcing his film to fail out of spite. While it may sound like an unfounded complaint, it turned out to be true.
In "The Evil Dead Companion," Campbell recalled the six months "Darkness" had been shelved while studio heads locked horns. He also backed up De Laurentiis' story about how Universal pressured them with an accelerated timeline:
"We finished it in the spring of '92, and then it was on ice for six months while they battled it out and finally came to terms, and our film was done. We had to deliver it [early] because Universal was trying to force us to. Dino said we should finish the movie so we can say that we held up our end of the obligations — and we delivered."
Campbell also pointed out that the movie was suddenly irrelevant to the execs, battling over something that had nothing to do with the actual film. It's a danger, he said, of making movies for major studios:
"The scariest thing to me is when you make films for large companies, you realize there is a level of business going on that is so far above the concerns of your movie that through various arbitrary decisions based on real estate or some legal deal or some financial thing that was started years ago, they're restructuring your movie. Or an executive gets washed out with his boys, and the incoming people don't want to deal with your movie ... that's more frightening than not having enough money."
"Army of Darkness" was released in theaters (to lackluster box office), Ridley Scott made "Hannibal" in 2001, and fans got one comedy and one high-profile cannibal gore movie to consume. "Army of Darkness" is now canonized by a generation of gorehounds and will continue to delight teens as long as there are dads willing to sit their kids down in front of it. It's currently on HBO Now.
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Book vs. Film vs. TV Series: 'Hannibal'
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Good evening, LitReactor readers.
We're returning to the Hannibal Universe once again with the third installment from Thomas Harris, published in 1999 and simply (or perhaps simplistically) titled Hannibal, which was adapted into a film of the same name in 2001 by writers David Mamet and Steven Zaillian (the latter rewrote the former's first draft, but there's enough of Mamet's script left intact to necessitate a credit) and director Ridley Scott. Many elements from Harris's novel were also woven into the entirety of Bryan Fuller's self-described fan fiction television series Hannibal.
Hannibal, Hannibal, Hannibal! This title suggests the book, the film and the TV series are all about the cannibalistic Dr. Lecter, but this is decidedly untrue. While the character receives far more attention from his creator than in previous novels Red Dragon and The Silence of the Lambs; more screen time in Scott and company's film than in Manhunter (the first screen adaptation of Red Dragon) and Jonathan Demme's Silence adaptation; and, of course, considerable narrative weight in the TV series bearing his name; he is not the protagonist. As with Silence, Hannibal (the film) is ostensibly about Clarice Starling (but it's also heavily about Rinaldo Pazzi and Mason Verger, who we'll address in a moment); likewise, Fuller's Hannibal focuses its attention on Special Investigator Will Graham, who substitutes for Clarice on more than one occasion (Fuller never quite had the rights to Starling's character).
Of course, the ultimate question we'll attempt to answer is, which of the two screen adaptations, Scott's or Fuller's Hannibal, best understands the source material; however, another, potentially uncomfortable question is, did either the film or the TV series handle the contents of Harris's novel better than Harris himself?
Let's dive right in shall we?
SPOILERS AHEAD
The Book
At first glance, Hannibal may seem like nothing more than a cash grab. There was no doubt high demand for a Silence sequel, given the success of Harris's novel and, even more so, the subsequent film, which cleaned up at the box office and swept the 1992 Academy Awards. More Lecter and Starling meant more money for everyone involved, because a new novel almost implicitly meant a new film. In fact, one may argue the novel was only written as a matter of course, allowing Harris to maintain literary predominance before the dollars really came rolling in (let's not pretend there's more money to be made in the world of publishing than in film).
This may seem sacrilegious or crass, and normally I wouldn't suggest a lack of integrity or genuine interest on an author's part; the problem is, in many places Hannibal feels slapdash and ambling, not at all resembling the narrative and linguistic tautness of Red Dragon and Silence, even going so far as to retcon certain events in the former books. Moreover, the plot of Hannibal gets into Grand Guignol territory—not a bad thing in and of itself, but when paired with the general ludicrousness of the story, makes for an experience far less sophisticated than previous efforts.
The ultimate question is: which of the two screen adaptations best understands the source material? And did either of them handle the contents of Harris's novel better than Harris himself?
Now, all that being said, I want to make it clear that for all its problems (and there are more than the ones I've already discussed), I actually rather like Hannibal, mostly because it essentially laid the groundwork for a much better handling of the material by Scott and, latterly, Fuller.
That's right, I'm saying it right now, straight away: the film and the TV series top their literary predecessor in spades.
So let's delve into why this is so by first discussing the overall plot of Harris's novel...
The Plot
Hannibal takes place seven years after the events of The Silence of the Lambs. We open with Clarice Starling, now a full-fledged Special Agent with the FBI, but an ostensibly unsuccessful one as it turns out. Due to the influence of Justice Department agent and misogynist douche bag Paul Krendler, Clarice never managed to get an assignment in Behavioral Sciences, and thus she hasn't worked with department chief Jack Crawford since assisting him in the Buffalo Bill murders nearly a decade prior. Instead, Starling has routinely been given rinky-dink jobs within the Bureau, mostly serving search warrants, tapping phones and conducting general surveillance—tasks the Agent is decidedly under-qualified to do.
The novel opens with one such task, in which Starling assists a SWAT team with the apprehension of drug lord Evelda Drumgo. However, what should have been a routine arrest goes horribly south when Drumgo emerges from her hideout holding an infant. She and her bodyguards open fire on the Agents, forcing Starling to gun down the criminal with the baby still in her arms. Of course, the National Tattler, former employer of Freddie Lounds, was on the scene to snap a few misleading photos of the act, publishing them the next day with the headline "DEATH ANGEL: CLARICE STARLING, THE FBI'S KILLING MACHINE," painting the sensible and passionate Agent as some sort of cold, Charles Bronson-like, brain-splattering ghoul.
A scandal erupts, and Krendler seizes the opportunity, wielding his influence over his FBI cronies to put Starling on paid leave, pending further investigation into the botched operation, for which she will no doubt shoulder all the blame. This very public defamation of Starling's character prompts Hannibal Lecter, silent since his escape from a Memphis holding cell seven years prior, to send his former interviewer and "patient" a letter, in which he continues to needle Clarice about her parents and her strict moral code:
In our discussions down in the dungeon, it was apparent to me that your father, the dead night watch-man, figures large in your value system. I think your success in putting an end to Jame Gumb's career as a couturier pleased you most because you could imagine your father doing it.
Now you are in bad odour with the FBI. Have you always imagined your father ahead of you there, have you imagined him a section chief or—better even than Jack Crawford—a DEPUTY DIRECTOR, watching your progress with pride? And now do you see him shamed and crushed by your disgrace? Do you see yourself doing the menial tasks your mother was reduced to, after the addicts busted a cap on your DADDY? Hmmmmm? Will your failure reflect on them, will people forever wrongly believe that your parents were trailer camp tornado bait white trash?
Remember, we last left Clarice sleeping "deeply, sweetly, in the silence of the lambs," memories of the sheep and horse farm, where the animals were slaughtered, and her gunned-down father laying dormant for the time being. Here, it is Lecter's intent to wake her from this peaceful slumber and make her face her demons. This is an important start to the doctor's rekindling of his relationship with Starling, as we will see later.
The appearance of this letter alerts the attention of one Mason Verger, an obscenely wealthy hog tycoon who fell to Hannibal's sadism fifteen years earlier and lived to tell the tale. Mason, a rapist and a pedophile, was ordered by court to seek therapy with Lecter. In an attempt to "buy off" the doctor, Mason invited Hannibal to his home with offerings of sex, drugs and revelry. Hannibal gives the pig man a powerful hallucinogen and convinces him to carve off his own face and feed the flesh to the dogs (as well as himself). Lecter then snapped Mason's neck, leaving him paralyzed. Since that time, the entire Verger family has been dedicated to ensuring Dr. Lecter pays for his crimes, both through prison sentences and civil suits. After Hannibal's escape and disappearance, Mason has placed a $3 million bounty on the doctor's escape, and keeps his well-paid spies on the lookout for any Lecter-related information (which is how he becomes aware of the doctor's letter to Clarice). Unbeknownst to the FBI, Verger also plans to feed Hannibal alive to a pack of man-eating hogs he's had specially raised in Sardinia.
This aspect of Hannibal's narrative creates a bit of a plot hole. Harris alludes to Mason's existence in Red Dragon, stating that there are in fact two Lecter victims to have survived, one of whom "is on a respirator at a hospital in Baltimore." This is Mason Verger, though in the third novel he now lives at his estate. This is all fine and well, except for one nagging detail: in Red Dragon, it is Will Graham who ultimately unmasks Hannibal as the Chesapeake Ripper when he realizes one of the murder scenes is an identical match for a Wound Man sketch in Lecter's home. If the Vergers have long been committed to ensuring the man who disfigured Mason is justly punished, then why did it take Will Graham to capture him? Lecter was never even a suspect in the crime, so Graham didn't come across the Wound Man sketch during an official investigation; rather, he attributes his discovery of the drawing to pure luck.
Why weren't the police alerted to Lecter? Was Mason not able to speak immediately after his disfigurement? Was he reluctant to out Hannibal out of fear? There are a plethora of simple answers to this question, but Harris chooses to simply not address the issue in Hannibal (and not even mention Will Graham to boot).
Instead, the author plows right on ahead with Mason's revenge plot, which involves wielding his influence over Krendler and getting Clarice reinstated to Lecter's case, charging her with investigating an x-ray from Buenos Aires Verger obtained from his informants that seems to indicate Hannibal has had his sixth finger surgically removed (in the novels, Lecter has the rarest form of polydactyl). This ultimately turns out to be a dead end, a fact Verger was well aware of, as his true motives were in using Starling as bait. By having her put back on Lecter's trail, he hoped the doctor would eventually expose his whereabouts by making further contact with Clarice.
This does not happen, however, but Verger does receive a significant lead when he is contacted by one Rinaldo Pazzi, a detective with the police force in Florence, Italy. Pazzi has recently been disgraced by scandal himself, having falsely arrested a suspect in the Il Mostro investigation, a real-life serial killer case featuring crimes not unlike those of Hannibal Lecter. Pazzi has also discovered Lecter posing as one Dr. Fell, the newly-appointed curator of the Palazzo Capponi library (a job for which Lecter has literally killed to get). Bitter over his shoddy treatment by the public and his colleagues, who once hailed him as a hero, Pazzi decides to sell out Hannibal to Verger and collect the bounty, shirking his commitment to maintain law and order.
It is with the introduction of this subplot that Hannibal begins to feel a bit bloated. Harris dedicates a solid twenty-three chapters to Pazzi and his efforts to capture Lecter, with pages of pontification over the detective's faulty moral compass, inserting numerous literary and historical references in the process. Take a look:
How do you behave when you know the conventional honors are dross? When you have come to believe with Marcus Aurelius that the opinion of future generations will be worth no more than the opinion of the current one? Is it possible to behave well then? Desirable to behave well then?
Now Rinaldo Pazzi, a Pazzi of the Pazzi, chief inspector of the Florentine Questura, had to decide what his honor was worth, or if there is a wisdom longer than considerations of honor...
Avarice is not unknown in Italy, and Rinaldo Pazzi had imbibed plenty with his native air. But his natural acquisitiveness and ambition had been whetted in America, where every influence is felt more quickly, including the death of Jehovah and the incumbency of Mammon.
When Pazzi came out of the shadows of the Loggia and stood in the spot where Savonarola was burned in the floodlit Palazzo Vecchio where his ancestor died, he believed that he was deliberating. He was not. He had already decided piecemeal.
WE assign a moment to decision, to dignify the process as a timely result of rational and subconscious thought. But decisions are made of kneaded feelings; they are more often a lump than a sum...
Honors again? Another chance to endure the archbishop's breath while the holy flints were struck to the rocket in the cloth dove's ass? More praise from the politicians whose private lives he knew too well? What was it worth to be known as the policeman who caught Dr. Hannibal Lecter? For a policeman, credit has a short half-life. Better to SELL HIM.
The thought pierced and pounded Rinaldo, left him pale and determined, and when the visual Rinaldo cast his lot he had two scents mixed in his mind, his wife and the Chesapeake shore.
SELL HIM. SELL HIM. SELL HIM. SELL HIM. SELL HIM. SELL HIM...
It goes on like that.
I'm not saying the inclusion of Pazzi and his narrative arc isn't necessary, but overall it takes away from page space that could have been devoted to developing other aspects of the story, like Starling's decreasing faith in everything she holds dear, her own dwindling moral compass in the face of rampant sexism, bureaucratic tomfoolery and judicial incompetence, not to mention her having to deal with Jack Crawford's increasing ineffectualness and sadness. These matters are dealt with, sure, but not so thoroughly that readers are sufficiently prepared for the book's denouement (we'll get there...). This is due to the attention placed on Pazzi as well as Mason Verger, especially his twisted relationship with his sister Margot, whose presence opens up another avenue of distraction and, unfortunately, another problematic depiction of a queer character (see a discussion of Jame Gumb's pseudo-transsexualism in my column Book Vs. Film: The Silence of the Lambs). See, Margot isn't just a lesbian, she's a bodybuilding lesbian who might only be a lesbian because Mason molested her as a child (gayness doesn't really work that way, of course). She's dependent upon Mason because their father essentially wrote her out of his will after discovering her homosexuality, and she hopes to get a vial of his sperm so she and her partner Judy can have a Verger child and secure their future.
In addition to building this complex backstory, Harris also devotes way more time than he should to the developing friendship between Margot and Barney, Lecter's former guard at the Baltimore State Hospital for the Criminally Insane, who has accepted a nursing job from Mason after Starling put the kibosh on his previous means of employment, living off sales of ill-gotten Hannibal memorabilia. Margot and Barney enjoy lifting weights together, but eventually the latter discovers a sexual attraction to the former when Margot unabashedly enters the showers with him. This brief awkwardness is diffused, however, and Margot tries to convince the man to milk Mason while he's sleeping so that she can obtained that much-needed sperm. Barney refuses and quits his job, resurfacing again later in the novel for reasons not essential enough to the plot to mention here.
The above summary of Margot and Barney's relationship may seem brief, but I assure you, it is not. Harris spends about as much time on these two as he does on Pazzi, and neither subplot really goes anywhere. Pazzi ends up getting disemboweled and hanged from a Palazzo Vecchio window just like his ancestor after Lecter becomes privy to his attempt to assist Mason's men in kidnapping the doctor and bringing him to the pig pen at the Verger estate. Given Hannibal's discovery, the plan falls south and things go back to square one, waiting for Lecter to make contact with Clarice and capturing him then. Mason once again enlists Krendler, who by now has been revealed to a completely corrupt S.O.B. For the tune of $5 million dollars, Krendler plants evidence that Starling has been secretly communicating with Lecter and warning him off arrest attempts, thus obstructing justice. This leads to Clarice being permanently fired from the FBI, which Krendler and Mason hopes will bring Lecter in close personal contact with Starling. This plan works, and Mason's men apprehend Hannibal as he attempts to deliver two bottles of rare and expensive wine to Clarice for her birthday.
Stripped of her title and with nothing left to lose, Starling, who has pieced together that Verger was behind the kidnapping, heads for the pig man's estate armed with nothing but a pistol. She shows up just as Mason's man-eating hogs are being lead toward the bound Hannibal. A gunfight ensues, during which Clarice subdues the Sardinian kidnappers, who get eaten up by the pigs instead. During the shootout, however, Clarice gets hit with a tranquilizer dart and falls unconscious, leaving Hannibal free to whisk her out of there. Meanwhile, Margot, on Hannibal's recommendation, stimulates Mason's prostate gland with a cattle prod in order to get his semen, then kills him by shoving his pet moray eel down his throat, leaving a tuft of Hannibal's hair at the scene so that the police will assume the mad doctor was behind the crime.
Here's where we get into weird territory (if you thought we were there already, you were sorely mistaken). See, interspersed throughout all the above action, Harris does something he's thus far done for all his madman—Francis Dolarhyde, Jame Gumb, and Mason Verger—but has refrained from doing so for the titular character: he attributes Lecter's madness to a single traumatizing event or series of experiences in their childhood. Harris reveals that as a boy, Hannibal and his sister Mischa were held captive by a group of Nazi soldiers who, when the food ran scarce, began to eat their prisoners. Lecter does not witness her slaughter firsthand, but he does notice "a few of Mischa's milk teeth in the reeking stool pit," perversely answering his prayers to see his sister again.
This is an odd move on Harris's part, because Lecter always functioned as the pure evil binary to the other killers of the Hannibal-verse. You could explain away the deeds of the Red Dragon or Buffalo Bill, but you can't explain Hannibal. The psychological community simply refers to him as a monster because they don't know what else to call him. Hannibal even reinforces his role as an unstoppable force of monstrousness in Silence. Consider this exchange of dialogue between Lecter and Starling, during their very first interview, in which the latter sets about convincing the former to fill out a psychological questionnaire:
'Oh, Officer Starling, do you think you can dissect me with this blunt little tool?'
'No. I think you can provide some insight and advance this study.'
'And what possible reason could I have to do that?'
'Curiosity.'
'About what?'
'About why you're here. About what happened to you.'
'Nothing happened to me, Officer Starling. I happened. You can't reduce me to a set of influences...'
Even if Hannibal is being intentionally evasive here, even if it might be true that the trauma of seeing his little sister's teeth in the stool pit turned him into a cannibal, Lecter was better off in the shadows, a mystery we cannot define, an evil we cannot comprehend.
However, Harris seemed to feel differently back in 1999 and reduces his character to a set of influences anyway (and then goes even further in 2006 with Hannibal Rising...). This revelation of Hannibal's origin acts as a weak spot, an Achilles's heel that Starling uses for her own survival. Because as it turns out, Lecter has come to believe, based on the theories of Stephen Hawking, that time could somehow reverse itself and make a place for Mischa in the modern day—the place currently occupied by Clarice. So, after rescuing Starling and nursing her back to health at his lakeside home, Hannibal sets about drugging and hypnotizing Starling in an attempt to break her down psychologically.
As part of this process, Hannibal kidnaps Paul Krendler, saws off the top of his head, and cooks his brains at the dinner table. Clarice, having totally abandoned her morals at this point, heartily consumes the human meat, much to Hannibal's pleasure. Later, while eating dessert, Hannibal finally suggests that Clarice could give up her place in this world for Mischa, but Starling counters that anyone could give up their life for hers—even Hannibal. This seems to please Hannibal even further, prompting Starling to expose her breast, pour wine on her nipple, and invite Lecter in for a taste.
Yep. That happens.
The novel concludes in Buenos Aires, where Barney and his girlfriend witness Lecter with a now platinum blonde Clarice at the opera. Fearing for his life, he flees the country, leaving Hannibal and Starling to dance in their palatial home. Harris also reveals here that Jack Crawford has died, and that Hannibal no longer has visions of Mischa. For the moment, it seems, he is happy with Clarice at his side.
There has been much criticism about this ending. For instance, Charles de Lint, writing for Fantasy & Science Fiction, stated,
Ignoring all that he has done with the character of Starling to this point, Harris has her improbably fall under Lecter's spell and continues the earlier device of making Lecter a sympathetic character. It simply doesn't work and the storyline reads more like a bad Hollywood movie—implausible and somewhat misogynistic in its cavalier treatment of what had been such a strong female character—than the taut, intelligent thriller one has come to expect from a writer of Harris's caliber.
de Lint has several good points here, but also a few I don't agree with, namely the idea that painting Hannibal as sympathetic is inherently wrong. I mean, yes, he's a monster, but given his propensity to eat the rude and awful people of the world, he becomes a bit likable, because he echoes the base urges we all might feel from time to time. Also, de Lint is mistaken in his assessment that Lecter's brainwashing of Starling functions as a point of sympathy. Sure, there is some level of sympathizing we can direct Hannibal's way when he is being pursued by Pazzi—Hannibal hasn't killed anyone since arriving in Florence, and it seems likely he would have stopped had Pazzi not began to investigate him. Moreover, compared to Mason Verger, Hannibal seems like Mary freakin' Poppins, and we're definitely rooting for Lecter in that battle. But when the doctor uses powerful hallucinogens and mind control methods to lure Starling over to his way of thinking, this is Harris reminding us that Lecter is indeed still a monster, even if he is human after all.
It is also decidedly not a sexist moment either, since Starling did not choose this path of her own volition—at least, not entirely. Lecter did prey upon her own Achilles's heel, the death of her father, and also her temper and sense of rage, which Hannibal correctly reveals to Clarice is intrinsically related to her early childhood trauma, namely that Starling directs her anger toward the injustices of the world because she has never allowed herself to display any anger toward her father for dying young and leaving her and her mother burdened and alone. By resurrecting these buried emotions, Hannibal gives Clarice the gift of catharsis—which would have been a fantastic ending for the character if the doctor hadn't used her vulnerability to manipulate Starling to his liking. Thus, if there is sexism in this moment, it lies in the fact that Hannibal, like all the men in the FBI save Crawford, has crushed Clarice, transforming her from a bright young agent to a somewhat subservient object of sex and desire.
But de Lint is right on the money in saying this ending doesn't work. The problem is, it isn't inherently broken. If Harris had spent more time developing the breakdown of Starling's moral compass and her mental stability—if he hadn't spent so much time with Pazzi, Margot and Barney—perhaps de Lint and other critics like him wouldn't feel the ending was implausible.
Fortunately, we have a screen adaptation that handles the material with much more care and nuance...
The Film
And that screen adaption isn't Ridley Scott and company's Hannibal.
Now, this isn't to say that Hannibal is a bad film. I didn't like it much upon its initial release, but upon revisiting it for this column, I found I did rather enjoy it. Anthony Hopkins returns as Lecter, and though he's just beginning to gnash his teeth, he doesn't quite bite into the scenery here (see Red Dragon for that). Julianne Moore steps into Jodie Foster's shoes as Clarice, and she does a fine job handling a more mature and jaded Starling, able to unleash her anger toward Krendler (Ray Liotta) and all the misogynist a-holes who just want to bring her down. Rounding out the cast is Gary Oldman under heavy layers of prosthetics as Mason Verger, whose performance is the highlight of the movie, in my opinion. Overall, Hannibal is a much tauter and compartmentalized version of Harris's novel, which enhances the narrative experience overall, given the author's propensity to meander.
As faithful an adaptation Scott's film is, there are three primary departures from the source material:
One, the character of Margot has been scrapped altogether, with much of her narrative arc going to Cordell, Mason Verger's physician. This serves to tighten up the narrative considerably, though I'd rather Zaillian had excised more of Pazzi (whose story occupies a good forty-five minutes to an hour of screen time) in favor of exploring Margot with more care and nuance (if only such an adaptation existed...).
Second, Scott refused to include any mention of Mischa, especially in reference to the origins of Hannibal's cannibalistic ways, reportedly because he found the concept "ludicrous." As such, this also removes any attempts on Hannibal's part to turn Starling into his dead sister, making his obsession with Clarice squarely about her and her alone. This was most definitely a good move on Scott's part.
And third, the film does not end with Starling succumbing to Lecter's mental manipulation, largely because his regiment of drugs and hypnosis is absent from the narrative. He does slip her an hallucinogen and attempt to "sway her toward the dark side," so to speak, but this sequence isn't nearly as prolonged as it appears in the book. Therefore, Starling is repulsed by Hannibal's eating of Krendler's brain, and she fights him as best she can in her altered state, eventually handcuffing herself to him in an attempt to deliver Hannibal to the authorities. Lecter chops off his own hand and escapes once again, landing himself on a plane headed for somewhere in Asia, where he feeds a curious boy some of Krendler's brain. Roll credits.
As I stated above, all things said and done, this is a decent film, enhanced by the new ending in which Clarice holds on to her morality—again, not because the opposite cannot work, but because there really wasn't time to develop this narrative in any acceptable fashion—unless of course you cut out the Pazzi sequence and focus solely on our protagonist, as Silence does.
Now, while the 2-2 1/2 hour film narrative doesn't allow for a completely faithful adaptation of Harris's novel, the medium of television lends itself nicely to a story this complex...
The TV Series
Bryan Fuller and company's Hannibal isn't just a retelling of Harris's third Lecter book, but rather incorporates elements from all four, even Silence, for which the show's producers never had full rights, specifically to the character Clarice Starling. Because of this, the sections of the show that deal with Harris's Hannibal directly substitutes Will Graham (Hugh Dancy) for Starling.
This shift actually makes tremendous sense. For the sake of simplicity, let's say that Hannibal's overarching goal in the novel bearing his given name is to turn Clarice toward the dark side, to align her moral compass with his way of thinking. Lecter already began this process with Graham in Red Dragon, reiterating over and over that, largely because of Will's pure empathy, he and the doctor are one and the same—in other words, Lecter sees a bit of the "violent sociopath" in Will, and sets about awakening this aspect of Graham's character.
The difference between this effort as Harris depicts it and how it appears in the show is this: Hannibal (Mads Mikkelsen) begins his brainwashing of Will almost from the moment he meets the Special Investigator, and not at the proverbial last minute, as he does with Clarice in the book. Near the end of season one, we see Lecter actively using more or less the same drugging and hypnotization methods on Graham that he uses on Starling. Like in Scott's film, Will is able to resist Hannibal's sway—but only for a little while. After Hannibal frames Will for his murders, then assists in his exoneration, Graham returns to the doctor to resume their therapy sessions, knowing full well that Lecter is the Chesapeake Ripper, the man responsible for landing him in Dr. Chilton's (Raul Esparza) asylum, and the killer of Beverly Katz (Hettienne Park), one of few people other than Hannibal who actually seemed to understand Will, and the only person who believed Will might be innocent after Lecter framed him.
Given all this, why would Graham willingly go back into Hannibal's care? Well, as we see throughout season two, the special investigator goes undercover in the hopes of drawing the killer out, making Lecter believe he has gone over to the dark side (knowingly consuming human flesh in the process), and so returning to Hannibal's office functions as a part of this long con. And yet, when Lecter questions Will as to his reasoning for resuming his therapy, Graham's answer is telling. In season two, episode eight "Su-zakana" (written by Scott Nimefro, Bryan Fuller and Steve Lightfoot, directed by Vincenzo Natali):
WILL: Can't just talk to any psychiatrist about what's kicking around in my head.
Very true. Hannibal is the only psychiatrist that could understand the good feelings Will gets when he kills, his fantasies about killing the doctor, his predilection for "righteous acts of violence." Given this innate understanding of Hannibal's inner workings, it isn't that surprising that Graham could finally go over to the dark side and admit the beauty of killing. In short, Fuller and company set us up with a relationship that almost seems destined to end with a kind of perverse togetherness, given the unique minds of both Hannibal and Will, and then thoroughly develop the corruption (for lack of a better term) of the "good" character over three seasons and 39 hour-long episodes—more than adequate time to satisfactorily explore a relationship arc of this complexity, exacted far more meticulously than Harris. (For a broader discussion of Will and Hannibal's relationship, see my Book Vs. Film column on Red Dragon).
As far as the main narrative of Harris's novel goes, this story arc mostly takes place in the first half of season three, although Fuller and company introduce Margot and Mason in season two, establishing Margot's need for a Verger baby and, later, depicting Mason's drug-induced and Hannibal-encouraged face peel in all its gory detail. The producers cast horror veteran Katharine Isabelle as Margot, eschewing Harris's rather stereotypical bodybuilder lesbian mold for a more femme and bisexual character, which helps create a more nuanced and realistic person, rather than a caricature (the absence of Barney leching after her helps too). Mason is portrayed by two different actors, Michael Pitt in season two and Joe Anderson in season three. Both do a fine and unnerving job with the role, though my personal favorite is still Gary Oldman.
Concerning Mason, Fuller fills in the plot hole left by Harris. Remember that the author failed to explain why it took Will Graham discovering Hannibal's crimes to stop the Chesapeake Ripper, and not the testimony of Verger? Well, in Hannibal the TV series, the answer to this question is simple: Mason wants to pursue his revenge from the moment he regains consciousness, and thus lies to Jack Crawford about how he manages to lose half his face. Why let the law have all the fun, after all?
The Florence section of the story is handled beautifully here. Pazzi shows up, played here by Fortunato Cerlino, and his story is pretty much the same, with the biggest difference being that he only appears in a few episodes before meeting his grisly end at the hands of Lecter, and within those episodes he only shows up in a handful of scenes. Moreover, Pazzi isn't the only person to have discovered Hannibal's whereabouts—Crawford and Will are both hot on the doctor's trail, and considerably more screen time is given to these more important characters than to Pazzi, who—let's be honest—is really just wicked kill fodder at the end of the day.
And finally, Mischa gets resurrected for the small screen, but in such a way that her presence, rather than humanizing the doctor, works to make Hannibal even more monstrous than we initially thought. However, this is a discussion better suited for another day...
And The Winner Is...
The TV show, despite being a non-linear and re-imagined adaptation of Harris's novel. The more direct Ridley Scott film has its high points—namely Gary Oldman and the presence of Clarice, played quite well by Julianne Moore—but the series handles the "going over to the dark side" elements far more satisfactorily than both the film—which doesn't really handle that aspect of the story at all—and Harris's novel, which handles it too hurriedly (and spends WAY too much time with Pazzi).
So there you have it.
Ta-ta. ~C
What are your thoughts on the third Lecter installment and its screen interpretations? Did you like the Ridley Scott film better than the TV series? Let us know what you think in the comments section.
For analysis on Harris's Red Dragon and its various adaptations, click here; and for The Silence Of The Lambs, here.
Next up—Book Vs. Film Vs. TV Series: Hannibal Rising.
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In the annals of silver screen monsters, few loom as terrifyingly large as one Dr. Hannibal Lecter, the infamous cannibal, murderer, and psychopathic genius. First introduced to film audiences by way of Brian Cox in Michael Mann’s MANHUNTER (1986), the character didn’t really take our collective fear hostage until Sir Anthony Hopkins stepped into the…
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THE DIRECTORS SERIES
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https://directorsseries.net/2018/07/30/ridley-scotts-hannibal-2001/
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In the annals of silver screen monsters, few loom as terrifyingly large as one Dr. Hannibal Lecter, the infamous cannibal, murderer, and psychopathic genius. First introduced to film audiences by way of Brian Cox in Michael Mann’s MANHUNTER (1986), the character didn’t really take our collective fear hostage until Sir Anthony Hopkins stepped into the role for Jonathan Demme’s THE SILENCE OF THE LAMBS (1991). Arriving on the tail end of a century of cinematic spooks like Dracula, Frankenstein and The Wolf Man, Hopkins’ Dr. Lecter quickly joined their high-profile ranks as one of the ultimate boogeymen, turning THE SILENCE OF THE LAMBS into an outright sensation that dominated both the box office and awards season. The prospect of a sequel, then, naturally possessed an undeniable appeal for those who stood to benefit, and no person was perhaps more eager to capitalize on the opportunity than legendary producer Dino De Laurentiis. Having served as an executive producer on MANHUNTER, he still held the screen rights to the character, but his dissatisfaction with Mann’s final product compelled him to sit out any involvement in Demme’s subsequent re-working of the property (1). When he heard that Hannibal’s literary creator, Thomas Harris, was embarking on a sequel in 1999, De Laurentiis quite understandably jumped at the opportunity to rectify his earlier blunder, and secured the novel’s screen rights for a record $10 million (2).
To say that a sequel to THE SILENCE OF THE LAMBS — in both literary and cinematic form —would be highly anticipated is certainly an understatement. Readers and audiences alike were keen to witness the carnage wrought by an unleashed Dr. Lecter, and it was arguably this eagerness that compelled Harris to take an indulgent tack in his approach. After all, a good horror sequel should up the ante wherever possible, reveling in higher body counts and ever-more horrific behavior from its monster. However, the finished novel, titled simply “Hannibal”, didn’t quite achieve the desired effect with its intended production team— Demme echoed the sentiments of LAMBS screenwriter Ted Tally and star Jodie Foster in declaring his distaste for the new novel’s gleeful approach to bloodletting (3). Nevertheless, they gave the project the benefit of the doubt for the time being, battling original screenwriter David Mamet and then Steven Zaillian throughout no less than fifteen drafts before their persistent misgivings caused them to finally drop out of the project altogether. De Laurentiis felt that as long as he still had Hopkins (and he did), then he still had a movie, so he pushed on undeterred. This is when director Sir Ridley Scott entered the fray, having been approached by De Laurentiis on the set of GLADIATOR. The two were old friends, having established a warm relationship when De Laurentiis pursued Scott to make DUNE after his success with 1979’s ALIEN (4). Funnily enough, Scott initially turned down De Laurentiis’ offer, under the mistaken assumption that the celebrated producer wanted him to make a film about the historical figure of Hannibal, the conqueror from Carthage who took on the Roman Empire (5). When he realized that De Laurentiis was actually proposing an $87 million sequel to one of the most successful horror films of all time, Scott was suddenly much more receptive to the prospect. While HANNIBAL met with a fairly divisive reception when it hit theaters in 2001, it nevertheless proved that, after a quarter century of making feature films, there were still cinematic avenues that Scott’s celebrated career had yet to stroll down: the gothic horror film, and the sequel.
HANNIBAL picks up ten years after THE SILENCE OF THE LAMBS, with Dr. Lecter living perhaps the cushiest life that an international fugitive has ever lived. Volunteering under an assumed name as an assistant museum curator in picturesque Florence, Italy, Dr. Lecter seems to have found the fullest, most-sophisticated realization of his true self— his taste for murder and human flesh now seems more like a quirk than a defining trait. In all this time, his toxic affection for FBI agent Clarice Starling has not diminished; the specter of unconsummated love haunting him at his core. Since their chilling encounter in THE SILENCE OF THE LAMBS, Starling has gone on to an established career in the FBI, but she too is haunted by the deep psychological impression Lecter was able to make on her. Taking over Foster’s iconic role is no easy feat, but Julianne Moore (cast here off of Hopkins’ recommendation) ably slips into Starling’s shoes. Indeed, she makes it her own, conveying the same icy determination that marked the character in THE SILENCE OF THE LAMBS, albeit bolstered by the confidence of age and experience. Laid low after a drug raid gone horribly awry, Starling unexpectedly receives a letter of condolence from Lecter, from which she can detect a unique fragrance that an expert (Darren Aronofsky regular Mark Margolis in a brief cameo) pinpoints as only available from a boutique shop in Florence. Unable to investigate herself, she makes contact with a local detective, Inspector Pazzi. Played with subdued intensity by Giancarlo Giannini, Pazzi is a driven cop who happens to share Lecter’s taste for the finer things in life. The desire for self-gain grows to overwhelm his duty to the law when Pazzi learns of a $3 million reward for Lecter’s capture, offered by his only living victim— a wealthy invalid named Mason Verger. Inhabited by an unrecognizable Gary Oldman in a truly sickening performance that required him to spend six hours in the makeup chair every day (5), Verger’s obscene wealth is no match for his hideous countenance, which might go down as some of the most revolting prosthetic effects in cinematic history. With his face left a desperate mess of skin grafts and scar tissue after Lecter convinced him to disfigure himself, Verger is less a man than he is a sentient fetus, living only for the satisfaction of exacting his revenge on Lecter. Suffice to say, Lecter is almost immediately captured by Verger’s men upon his return to America, and Starling finds herself in the strange position of having to rescue this diabolical psychopath against the orders of her superior, agent Paul Krendler (Ray Liotta). The result is an exhilarating rescue sequence set in Verger’s gothic mansion in rural North Carolina, followed shortly thereafter by a macabre dinner party at Krendler’s lake house that will give Lecter the intimate reunion with Starling he’s been dreaming of for a decade. While HANNIBAL’s plot may lack the discipline and tight structure of THE SILENCE OF THE LAMBS, it nonetheless projects a very uncomfortable atmosphere by humanizing the monster at its core— indeed, we come to feel something like sympathy for Lecter, thanks to Hopkins’ intimate familiarity with — and absolute refusal to judge — a character that has come to define his career.
Fresh off their successful collaboration with GLADIATOR, Scott and cinematographer John Mathieson roll right into HANNIBAL without skipping a beat. The pair conjures a very different atmosphere than GLADIATOR, leaning into the story’s genre trappings with a suitably dark and frightening aesthetic. Shooting on 35mm film in the 1.85:1 aspect ratio, Mathieson and Scott employ a desaturated, high-contrast color palette that explores the interplay between blue and orange tones (a longtime trademark of the director’s visual style). A heavy blue cast dominates nearly every frame, reinforcing a cold, depressive mood that reflects Lecter’s elegant inhumanity. So too does Scott’s formal camerawork, which favors butter-smooth dollies, cranes, and Kubrickian slow-zooms amidst the occasional handheld setup. Shadows are a defining trait of HANNIBAL’s visual approach, informing Scott’s employment of signature atmospheric conceits like silhouettes, smoke, and shafts of concentrated light. Echoing the indulgent nature of Harris’ novel, Scott repeatedly embraces the opportunity to experiment with his aesthetic, towards end both effective (like consistently obscuring Lecter’s full visage through careful placement of shadow and reflections) as well as derivative (the rendering of a fish market shootout in extreme slow-motion that immediately reminds one of THE MATRIX (1999)). A curious expansion of Scott’s visual artistry finds him using slow shutter speeds in select “flashback” sequences, which creates a disconnected, staccato energy while evoking the “snapshot” nature of a memory recalled. For all its visual indulgences, HANNIBAL’s stylistic cohesion is ensured through the return of established post-production collaborators like editor Pietro Scalia and composer Hans Zimmer. Complementing a suite of classical cues (some of which made an appearance in THE SILENCE OF THE LAMBS), Zimmer’s subdued, spooky score employs conventional orchestral instruments albeit played at tonal extremes, in a bid to reflect the similarly-extreme nature of Lecter’s sophisticated inhumanity. Driven by propulsive chimes and bellowing cellos, Zimmer’s work here is curiously under-mixed; it plays at a noticeably lower volume than expected. Whether this was a technical oversight or an intentional artistic choice, it’s objectively a shame— HANNIBAL’s score is one of Zimmer’s best; a dark, beautiful beast that beckons us with elegant mystery and baroque foreboding.
Unless they also directed the originating installment, most directors of Scott’s caliber avoid sequels like the plague. Though they often tend to be more successful from a financial standpoint, sequels find filmmakers starting from a place of artistic disadvantage— they have to service and subvert audience expectations at the same time, recycling the elements that made the original work so well while also delivering something new. Scott must have intuitively known that imitating Demme’s work on THE SILENCE OF THE LAMBS was the road to surefire failure; he had to make it his own. While HANNIBAL may not quite succeed as a worthy sequel, it certainly excels as an individual piece contained within the context of Scott’s filmography. Key aspects of the narrative seem tailor-made to Scott’s unique sensibilities, beginning with a story driven by a strong heroine. The character of Clarice Starling may not be Scott’s creation, but her manifestation in HANNIBAL evidences the influence of the Scott heroines who came before her. In Moore’s characterization, one can glimpse the tactical courage of ALIEN’s Ripley, the calculating observation of BLADE RUNNER’s Rachel, or the principled defiance against male power dynamics exhibited by the namesakes of THELMA & LOUISE. Also like these women, Starling never has to sacrifice her own femininity in order to project strength or courage, or emulate masculine behavior to prove her resolve. Whereas Foster’s take on Starling portrayed her femininity as a liability, inviting objectifying leers and crass sexism from her cohorts in the FBI, Moore’s performance embraces it as a source of personal strength, giving her the edge that eludes complacent colleagues like Liotta’s incompetent and misogynist superior.
HANNIBAL’s exotic Florence backdrop no doubt held enormous appeal for Scott, promising new and challenging opportunities to create yet another highly-immersive environment. Working once more with his BLACK RAIN (1989) and THELMA & LOUISE production designer Norris Spencer as well as Diego Loreggian, Scott achieves just that, foregoing the fantastical worldbuilding afforded by a fictional setting in favor of a “you-are-there” vibrancy. A standout sequence in this regard finds Pazzi’s assistant stalking Hannibal through a bustling Florence bazaar, with Scott strategically employing smoke, shadows, a crowd of high-energy extras, and evocative lighting to drop the audience right in the middle of the action. This heightened sense of “presence”, a rare quality that still manages to elude many world-class directors, can also be felt in the fish market shootout that opens the film, or even sequences set in Verger’s gothic mansion, which provide an appropriately spooky “monster movie” backdrop in which Lecter’s Dracula figure can roam. That said, if HANNIBAL flirts with the manifestation of Lecter in the syntax of vampirism, he doesn’t necessarily draw from expected sources like Tod Browning’s DRACULA (1931). Rather, HANNIBAL’s inspiration comes from a much more intimate source— 1983’s THE HUNGER, the debut film of Scott’s younger brother, Tony. The aesthetic similarities are undeniable, with both films sharing the same blue color cast, evoking the coldness of the undead. While Lecter isn’t necessarily a “vampire” per se, he nonetheless assumes the elegant, worldly nihilism of THE HUNGER’s vampiric protagonists: beings who’ve lived for hundreds of years and have grown disenchanted by seeing repetitive sociological cycles play out time and time again to the same effect. He also shares their taste for classical music, and for drawing blood with small concealed blades. While Scott’s homage to his brother’s breakout work will undoubtedly go unnoticed by most, its intensely-personal nature nonetheless causes HANNIBAL to resonate at a different emotional register than THE SILENCE OF THE LAMBS, making for an altogether-different beast that makes an honest attempt to justify its existence as a sequel to a story that didn’t necessarily need one.
Despite his best intentions, Scott’s efforts may not have been enough to surmount the outsized expectations set by the original. The prospect of once again experiencing Lecter’s darkly-magnetic charisma may have lured audiences in to the tune of a $58 million opening weekend (which in 2001, was the third-biggest debut ever (6)), but even Hopkins’ reprisal of his famous role couldn’t fully ensnare their attentions as he had done the first time around. Reviews tended to be all over the place; there were those who really liked it, and those who really didn’t, but HANNIBAL’s true kiss of critical death lay in the critics who were simply ambivalent about it. GLADIATOR may have marked Scott’s graduation to a world-class director of prestige films, but HANNIBAL was decidedly a middling, journeyman work. It’s a testament to Scott’s work ethic that even his most forgettable films exhibit top-notch craftsmanship, but HANNIBAL ultimately fails because his vision doesn’t amount to more than the sum of its parts. Following a career-defining work like GLADIATOR was never going to be an easy task, so one would be justified in cutting Scott a little slack if HANNIBAL falls short— after all, the consistent pivoting from wins to losses was the natural rhythm of Scott’s filmography. HANNIBAL may have been a disappointment, but Scott thankfully had his next win up his sleeve, and his tireless work ethic meant that it was already due for release later that same year.
HANNIBAL is currently available on high-definition Blu Ray via MGM.
Credits:
Written by: David Mamet and Steven Zaillian
Produced by: Ridley Scott, Dino De Laurentiis, Martha De Laurentiis
Director of Photography: John Mathieson
Production Designer: Norris Spencer, Diego Loreggian
Edited by: Pietro Scalia
Music by: Hans Zimmer
References:
IMDB Triva Page
Via Wikpedia: Bernstein, Jill (9 February 2001). “How Hannibal came to be made”. The Guardian. London. Retrieved 6 March 2007.
Via Wikipedia: Flynn, Gillian (11 October 2002). “Rebirth of Cruel”. Entertainment Weekly. Retrieved 12 June 2007.
Via Wikipedia: “Interview with Ridley scott”. Total Film. March 2001.
Via Wikipedia: Hannibal DVD “Making of feature”
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2024-07-12T14:06:28+00:00
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For other uses, see Hannibal (disambiguation). Hannibal is a 2001 film based on the book of the same name by Thomas Harris and the sequel to the Academy Award-winning film The Silence of the Lambs. Hannibal Lecter returns to America and attempts to make contact with disgraced Agent Starling and...
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https://static.wikia.nocookie.net/hannibal/images/4/4a/Site-favicon.ico/revision/latest?cb=20210516173531
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Hannibal Wiki
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https://hannibal.fandom.com/wiki/Hannibal_(film)
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“
As your mother tells you, and my mother certainly told me, it is important, she always used to say, always to try new things.
— Dr. Hannibal Lecter, before feeding an unknowing boy human brain
”
For other uses, see Hannibal (disambiguation).
Hannibal is a 2001 film based on the book of the same name by Thomas Harris and the sequel to the Academy Award-winning film The Silence of the Lambs.
Plot[]
Hannibal Lecter returns to America and attempts to make contact with disgraced Agent Starling and survive a vengeful victim's plan.
Cast[]
Anthony Hopkins as Dr. Hannibal Lecter
Julianne Moore as Clarice Starling
Gary Oldman as Mason Verger
Ray Liotta as Paul Krendler
Giancarlo Giannini as Chief Inspector Rinaldo Pazzi
Željko Ivanek as Dr. Cordell Doemling
Hazelle Goodman as Evelda Drumgo
Frankie R. Faison as Barney Matthews
Ivano Marescotti as Carlo Deogracias
Francesca Neri as Allegra Pazzi
Danielle de Niese as Beatrice
Synopsis (contains spoilers)[]
The film takes place ten years after the events depicted in The Silence of the Lambs. In the opening scene, Barney, one of Hannibal Lecter's care givers at the Baltimore hospital, talks to a disfigured and paraplegic man, Mason Verger, about the conversations Barney had with Lecter and Lecter's relationship with Clarice Starling. Barney then shows Verger a boxed object he's brought with him: the leather restraining mask used to cover Lecter's face when he was being transported. Barney asks for a price of $250,000 for it and Verger eagerly accepts.
FBI agent Clarice Starling is in Washington DC, leading a raid to arrest an HIV-positive drug dealer named Evelda Drumgo. Though Starling has laid out precise plans to the arresting team, the raid is horrifically botched when one of the agents rushes Drumgo and her gang after Starling orders them to stand down because Drumgo is carrying an infant. When Clarice orders Drumgo to surrender, Drumgo whips out a machine pistol and opens fire, hitting Clarice. Clarice responds reflexively and shoots and kills Drumgo, splattering the infant with her blood, as well as four other gang members. During the gun battle, a number of agents are also killed. Clarice, who had been wearing a bulletproof vest, recovers the child and washes it off with a nearby hose. Starling is disgraced by Justice Department official Paul Krendler, whose romantic advances Starling had rejected years earlier.
As a result of the publicity surrounding the drug raid, Starling and her past connection to escaped serial killer Hannibal Lecter comes to the attention of one of Lecter's victims, Mason Verger, who is also a wealthy, sadistic pedophile. Verger, Lecter's fourth victim, was the only victim to survive Lecter's killing spree, still seeks revenge for what occurred. He uses his political influence to have Starling assigned to the Lecter case once again in the hope that this will draw Lecter out of hiding.
At Muskrat Farm, the Verger's estate, Verger claims to have new information about Lecter (an X-ray), which he is willing to disclose only to Starling, and she is sent to his estate to collect it and interview him. Upon her arrival, Verger tells Starling about his history with Lecter. They met when Lecter was assigned by a court as Verger's therapist after Verger's conviction on multiple counts of child molestation. Verger invited Lecter to his pied de terre. While showing Lecter his noose used for auto erotic asphyxiation, Lecter offered Verger an amyl popper. In reality, it was a cocktail of hallucinogenic drugs. Lecter then convinced Verger to cut off his face and feed it to his dogs, then snapped his neck with the noose. Verger is now horrifically disfigured and bedridden and confined to his secluded mansion, but with the assistance of his personal physician Cordell and other minions, he is pursuing an elaborate scheme to capture, torture and kill Lecter.
In Florence, Italy, Chief Inspector Rinaldo Pazzi of the Questura is investigating the disappearance of the curator of the Capponi Library, a Renaissance palace that serves as a repository of rare books, historical documents, and art treasures. In the course of his investigation, Pazzi meets the new curator: "Dr. Fell," who is actually Hannibal Lecter. Lecter greets Pazzi, claims not to know of his predecessor's whereabouts. He also notes that Pazzi is related to Francesco di Pazzi, who was executed many centuries before by hanging and disembowelment. Lecter mentions that Pazzi was also struck off the Il Mostro serial killer case.
As Verger surmised, Lecter soon learns of Starling's public disgrace and reassignment to his case, and he sends her a letter that is at once sympathetic and mocking. The letter contains no apparent clue to Lecter's whereabouts, but Starling detects a strange fragrance upon it. She takes it to a perfume company, where the experts inform her that the writer used a very expensive skin cream that could have been sold in only a few shops in the world, one of which is in Florence.
Starling contacts the police departments of the cities where the shops are located, including Pazzi's department, asking for copies of any surveillance tapes made by cameras installed in the shops. When Pazzi sees one of his men making a copy of such a tape for Starling, he recognizes "Fell" in the tape and decides to find out why the FBI is interested in him. Pazzi accesses the FBI's database of fugitive criminals and learns that "Fell" is Hannibal Lecter. He also learns that Verger is offering a reward of $3 million to anyone who assists him in capturing Lecter in lieu of turning him over to the FBI (who offer a $250,000 reward). Hoping to collect the larger bounty, Pazzi makes contact with Verger's people and agrees to help them kidnap Lecter. Starling, meanwhile, has received the surveillance tape from Florence, has recognized Lecter, and has learned that Pazzi has been using the FBI's database to check on Lecter. She calls Pazzi and warns him against trying to capture Lecter himself, describing the brutal escape from ten years ago, but Pazzi ignores her warning.
Pazzi coerces a local pickpocket into wearing a cheap bracelet and attempting to rob Lecter. The pickpocket follows Lecter through the streets of Florence. When he reaches for Lecter's wallet, Lecter grabs him by the wrist (and the bracelet) and slyly stabs the man in the upper leg, severing his femoral artery. Pazzi finds the thief and takes the bracelet from him, leaving him to bleed to death on the street. Pazzi sends the bracelet with Lecter's prints to Verger who has them confirmed as Lecter's.
Pazzi and Verger's men try to kidnap Lecter after his scheduled evening lecture on the poetry of Dante to a group of scholars at the Palazzo Vecchio, but their plan goes badly awry. After the lecture, Lecter chloroforms Pazzi, knowing of his plan to sell him to Verger. When he wakes, Pazzi is confined to a hand truck with a noose over his neck. Lecter interrogates Pazzi, forcing him to answer several questions by threatening to kill and eat Pazzi's wife. Lecter murders Pazzi by first slashing open the man's abdomen and then throwing him off an upper floor balcony with a noose around his neck, disembowelling him in the process -- the same fate of Francesco, Pazzi’s ancestor. Lecter then escapes, slashing the throat of one of Verger's henchmen, deciding to return to the United States to renew his acquaintance with Starling.
Frustrated by the failed attempt to kidnap Lecter, Verger tries to draw him out of hiding once again by getting Starling into more trouble. He bribes Krendler to accuse her of withholding a note she received from Lecter. The ploy works, and Starling is suspended from duty. Verger's men keep her under surveillance in the hope that Lecter will contact her. Lecter, meanwhile, has been watching her and also watching Krendler. Lecter then buys china and crystal for an elaborate meal and also steals surgical equipment from a hospital. He takes everything to a secluded lakefront house that he has learned belongs to Krendler.
Lecter then contacts Starling, luring her to Washington's Union Station for a meeting. Verger's men follow her there. As Starling looks for Lecter among the crowd of travelers and shoppers at the station, she and Lecter converse by cell phone. He expresses his admiration for her and his sympathy for the shabby treatment she has received from the FBI, at one point suggesting that he might force the people who have disrespected her to "scream apologies." He ends the conversation by luring her to a photo booth, with shoes in there. He hangs up, saying he hoped she liked the skin cream.
Having spotted Lecter, Verger's men capture him in the station's parking lot despite Starling's efforts to stop them. Starling makes a fruitless attempt to expose Verger's scheme to the FBI. Meanwhile, Verger's men transport Lecter to the Verger estate. Verger greets Lecter and graphically describes his plan, he plans to watch Lecter being eaten alive by a herd of vicious wild boars that Verger — an expert at swine breeding from his days in the family meatpacking business — has prepared especially for the purpose. Verger taunts Lecter, saying he probably wished that he fed the rest of him to the dogs. Lecter merely replies that he much prefers Verger in his current state.
When the FBI refuses to act on her report that Verger has kidnapped Lecter, Starling goes alone to Verger's estate. She intervenes as Verger's henchmen are about to unleash the pigs on Lecter, shooting the men and freeing him, but she is shot and wounded in the shoulder. Lecter then rescues her from the animals. When a furious Verger orders his physician Cordell to shoot Lecter, Lecter persuades Cordell (who has always hated his master) to throw Verger into the pen with the hogs instead, and Verger dies in the very manner in which he had hoped to kill Lecter, Lecter having assured Cordell he will take the blame for the deed. Early next morning, on 4th July, Krendler is ambushed at his house by Lecter.
Lecter takes Starling to Krendler's lakefront house and treats her bullet wound. She awakens in an upstairs bedroom, dressed for a formal occasion. On her way downstairs, she finds a phone and calls the police. Instead of taking their advice and leaving the house to wait for their arrival, she looks for Lecter downstairs. She finds him in the dining room where he has set the table as if for an elegant dinner party, watched by the seated Krendler, who has been heavily drugged. As Starling looks on, horrified, Lecter removes the top of Krendler’s skull, cuts out part of his brain (the pre frontal cortex, the part that Lecter says is “associated with good manners”), sautés it in a pan by the table, and feeds it to the dazed Krendler. Clarice, almost vomiting, pleads with Lecter to stop and saying she'll give him the details of the FBI’s profile on him so he can escape. Lecter rebukes the offer.
When Lecter wheels Krendler back to the kitchen to clear up after the “meal,” Starling attacks him with a silver candlestick but is easily overpowered. Lecter traps her hair in the fridge. He asks her, “Tell me Clarice, would you ever say to me, ‘Stop ... if you loved me, you’d stop’?” To which Starling replies, “Not in a thousand years.” Lecter replies with, “That’s my girl," then kisses Starling. Just as he is about to leave, thinking he's won, he hears a click and sees that Starling has handcuffed his wrist to her own. When she refuses to provide the key, Lecter pins her wrist to a table and brandishes a meat cleaver. He raises it and says, "This is really going to hurt." Next we see Starling outside the house, looking for Lecter, who escaped just before the police cars arrived, and both her hands are intact.
The last scene is of Lecter on an airplane. One of his arms is in a sling. His hand is not visible. He is preparing to eat the boxed meal he has brought with him, and a small boy sitting next to him asks about the food. Lecter opens the container to reveal several kinds of food, among which is what appears to be part of Krendler's brain, cooked and sliced. The boy asks to try the brain. Lecter is both intrigued and impressed and allows him to, saying that his mother always told him to try new things. Lecter feeds the brain to the boy as the camera pans out.
Gallery[]
View the complete gallery
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Seven years have passed since Dr. Hannibal Lecter (Anthony Hopkins) escaped from custody. The doctor is now at large in Europe. Mason Verger (Gary Oldman) remembers Lecter too, and is obsessed with revenge. Verger was Dr. Lecter's sixth victim, and though horribly disfigured, has survived. Verger realizes that to draw the doctor into the open, he must use someone as bait: Clarice Starling (Julianne Moore).
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2024-08-08T17:26:07+00:00
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Your premier source of horror apparel and accessories from your favorite creature features, slasher flicks, and cult classics!
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en
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Fright-Rags
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https://www.fright-rags.com/
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Each one of us here at Fright-Rags is a fan, first and foremost. Together, we put our heart and soul into every product we make, and are grateful to you for giving us the opportunity to do what we do. This isn’t a costume…it’s a way of life.
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