Hannibal
Ten years have passed since Clarice Starling helped save the life of Catherine Martin from Buffalo Bill. She is no longer the ‘darling’ of the FBI. Rather she is seen as a disgrace by her superiors.
It has also been ten years since Hannibal “the Cannibal” Lecter escaped from prison. He has been living in Florence under the guise of Dr Fell, the potential new curator , of a museum.
Soon, a series of events leads Lecter back to Starling. Can she bring him in and save her career?
Direction
Directed by Ridley Scott, it has quite a few of his trademarks from use of slow motion at times, to high def camera work in some intense shoot out scenes. He also uses a series of tints to give an unnatural use of colour to change the mood of the scene.
These do distract from the narrative, and the final feel of the film is distinctly different to that of Silence of the Lambs.
Cast/Characters
Back again is Anthony Hopkins playing the titular role of Hannibal. The film almost gives him an ‘anti hero’ approach. He’s even given his own villain within the film, Mason Verger. He is given top billing despite not appearing on screen until half an hour into the film (prior to this he is seen in brief ‘old footage’).
Julianne Moore replaces the Oscar winning Jodie Foster in the role of Clarice. I didn’t actually hate this change too much, but I do feel like they sexualised Clarice more here – and that could be in part to Moore herself.
Gary Oldman is both unrecognisable, and un-credited in the opening credits as Mason. He is simply fantastic as the quadriplegic, who has had his face completely removed.
Ray Liotta plays Paul Krendler, Clarice’s boss, and seemingly former partner. He is great in yet another villainous type role.
Other performers of note are Giancarlo Giannini (as Insp Pazzi), Zelko Ivanek (as Cordell) and Frankie Faison (returning as Barney)
Breakdown
Going into this re-watch, I struggled a little, as this has always been a good film to me. But there are inherent problems, and unfortunately they stem right from the source material.
One big problem is the character of Hannibal. In this film, despite still doing some brutally violent and antagonistic things to people (poor Pazzi), he almost comes across as an antihero.
The second is the relationship dynamic between Clarice and Hannibal. The first film was all about their conversations, and the almost friendship they created. This was assisted by the mesmerising directing of Jonathan Demme. The little to no interaction between the two is missed.
He created a dark, near Gothic and sinister atmosphere, and the fourth wall conversations really made you feel like you were inside the conversations.
Scott’s direction is too much like his own work. He made this film his and not Hannibal’s.
Gary Oldman as always outdoes himself. He plays the (uncredited in the opening credits) Mason Verger, who is both quadriplegic – and horrifically scarred face (due to a disastrous date with Hannibal earlier in his life). He becomes the primary villain of the film, wanting revenge on Hannibal. Had they kept certain aspects from the novel in the film, you would understand why he is a (good) antagonist.
I much preferred the ending to the film here than to the book. I felt the book completely wrecked what SotL created so well, and at least with this ending Clarice is left with some level of self respect. IYKYK.
I really thought the sound department did a wonderful job. There are a few moments where minor world sounds are amplified, such as the burning of a cigarette, and characters playing with coins in their hand.
I loved Hans Zimmer’s score, and especially that Opera scene.
The main down is the pacing. The first two acts are very slow burn, with Hannibal and Clarice not even interacting (rather she is investigating his whereabouts following his letter to her). It’s not really until the final 30 minutes that we get; Their phone conversation, he gets kidnapped, she saves him/gets shot, he saves her, the Paul Krendler dinner…) This whole third act is so rushed you can barely keep up.
Overall
While still good in visuals and performances, it does somewhat ruin the legacy that SotL holds.
Funny that director Scott thinks that modern cinema is shit, and he only wants to watch his films, when this is yet another of his that is ‘technically’ a fail. Hmm.
3.5/5
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