I didn't think the film was as good a Ridley Scott film as Gladiator, due to the rather unclear definition of its two principal villains, nor did I think it was as good a serial killer film as Seven, as it lacked that film's remarkably intelligent script. Yet the film is, surprisingly for such a successful, mainstream film, a triumph, and confirms Scott as perhaps today's most exciting director.
There are two main themes in the film; that of betrayal, and that of unrequited love. Both Lecter and Starling are constantly betrayed by those around them; he by the detective Pazzi, she by her misogynistic superiors. And, it could be argued, Starling finally betrays Lecter, when she tries once more to trap him at the end of the film. It's pretty obvious why Jodie Foster didn't want to do the film; Starling has not evolved much beyond Silence...; the lambs may have gone, but the dedication to rules and the lack of imagination are still there. In contrast, Lecter is the aesthete gone wrong; this is a man with too much imagination, a man who is weary of pretending to be something he is not. His cannibalism can be seen as a rebellion against the constraints of an incomprehending society rather than an act of brutality, as it was portrayed in Silence....
Unrequited love is the other major theme. Certainly, Hannibal Lecter is in love with Clarice. It is entirely possible that he sees something of a kindred spirit in her, somebody who is willing to step over boundaries and constraints. While I feel that Thomas Harris' original ending was inappropriate, insofar as it meant an unrealistic change on the part of Starling, the film's ending has a classic moment where (and don't read this if you haven't seen the film) Lecter attempts to kiss her, only to be handcuffed. The police are about to arrive. While the old Lecter would have had no qualms about removing Starling's hand, and possibly eating it later, he cuts off his own hand, so as not to disfigure his idol in any way. This is a wonderful touch; this man, who has killed so many people, finally realising that there is beauty outside the world of art history and Italian architecture.
Many people have complained that the film is too violent. My response would be this; Poussin's paintings are 'violent'. Ovid's Metamorphoses are 'violent'. The Bible is 'violent'. And yet did they provoke the level of outcry that Hannibal has? Of course not. Artistically, the film is a triumph, with glorious cinematography and intelligent use of slow and fast motion. Hopkins is unsurprisingly superb, but Moore is very nearly as good in a far less demonstrative role. You've probably seen the film already, but go and see it again.
There are two main themes in the film; that of betrayal, and that of unrequited love. Both Lecter and Starling are constantly betrayed by those around them; he by the detective Pazzi, she by her misogynistic superiors. And, it could be argued, Starling finally betrays Lecter, when she tries once more to trap him at the end of the film. It's pretty obvious why Jodie Foster didn't want to do the film; Starling has not evolved much beyond Silence...; the lambs may have gone, but the dedication to rules and the lack of imagination are still there. In contrast, Lecter is the aesthete gone wrong; this is a man with too much imagination, a man who is weary of pretending to be something he is not. His cannibalism can be seen as a rebellion against the constraints of an incomprehending society rather than an act of brutality, as it was portrayed in Silence....
Unrequited love is the other major theme. Certainly, Hannibal Lecter is in love with Clarice. It is entirely possible that he sees something of a kindred spirit in her, somebody who is willing to step over boundaries and constraints. While I feel that Thomas Harris' original ending was inappropriate, insofar as it meant an unrealistic change on the part of Starling, the film's ending has a classic moment where (and don't read this if you haven't seen the film) Lecter attempts to kiss her, only to be handcuffed. The police are about to arrive. While the old Lecter would have had no qualms about removing Starling's hand, and possibly eating it later, he cuts off his own hand, so as not to disfigure his idol in any way. This is a wonderful touch; this man, who has killed so many people, finally realising that there is beauty outside the world of art history and Italian architecture.
Many people have complained that the film is too violent. My response would be this; Poussin's paintings are 'violent'. Ovid's Metamorphoses are 'violent'. The Bible is 'violent'. And yet did they provoke the level of outcry that Hannibal has? Of course not. Artistically, the film is a triumph, with glorious cinematography and intelligent use of slow and fast motion. Hopkins is unsurprisingly superb, but Moore is very nearly as good in a far less demonstrative role. You've probably seen the film already, but go and see it again.
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