THE SILENCE OF THE LAMBS
A film review by Frank Maloney
Copyright 1991 Frank Maloney
THE SILENCE OF THE LAMBS is Jonathan Demme's adaptation of a novel by Thomas Harris and it knocked my socks off.
It is a thriller about serial killers, one known and in high-security detention, one unknown and on a bloody rampage. The former is played by Anthony Hopkins, who has created the creepiest, most disturbing villain I have ever seen in a movie. He is totally convincing as "Hannibal the Cannibal," alarming, charming and vile, intelligent, perceptive, a human animal. If Hopkins doesn't get a best-actor nomination next year, it will be because the film was released too early in the year, although how anyone who sees his performance can ever forget it is beyond me.
He forms a bizarre alliance with an FBI agent-in-training played by Jodie Foster. Foster turns in an excellent performance that ought to establish her as a creditable adult actor. Her performance isn't as flashy as Hopkins, but it's thorough and convincing throughout.
I have only one cavil: the other, on-the-loose killer is a gay man. Okay, there are probably a proportionate number of gay people among killers and psychopaths as in the world at large. But I can see no particular reason why this one has to be gay. Because he thinks he's a transsexual the film seems to say. Hogwash! I think the real reason is that a stereotype and a prejudice is being exploited and I say shame on Demme and company.
One of the things I like about SILENCE is the way the film plays with who are good guys and who are bad guys. Hopkins, for instance, is presented as exactly what he is and yet at the end we like him, knowing full well the evil he does. Another character, who is on the right side of the bars, the director of the asylum where Hopkins is kept, is clearly marked from the beginning as a villain and we cheer his final fate. The other killer, "Buffalo Bill," is presented without any ambiguity--all bad, but interesting.
There are consistently good characterizations of the major players, all too rare a quality in contemporary scripts. In particular, we learn a lot about Foster's character--even though she is a woman, contrary to such movies as THE FABULOUS BAKER BOYS and RUSSIA HOUSE. Also, I was pleased that no one had to fall in love with anyone else, although two intriguing friendships develop for Foster.
The film is ably photographed without particularly drawing attention to itself or making any obvious contribution to the meaning of the film, unlike a film such as L.A. STORY where the camera's love affair with Los Angeles is a substantial part of the film.
One WARNING: this film is a very tense affair with blood, violence, and mutilation. Most of the worst happens out of the range of the camera, but enough is shown and the rest talked about so it may disturb some viewers excessively. Several people in my audience clearly couldn't take it any more and exited after one particularly grueling scene. There is also strong language and some nudity.
-- Frank Richard Aloysius Jude Maloney
.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews