Hannibal (2001) 2 1/2 stars out of 4. Starring Anthony Hopkins, Julianne Moore, Ray Liotta, Giancarlo Giannini and Gary Oldman. Written by David Mamet and Steven Zaillian. Based on the book by Thomas Harris. Directed by Ridley Scott. Rated R.
Hannibal is a very engrossing, thriller with strong performances, clever writing and first-rate cinematography. It also is a stomach turner.
This definitely is not a ìdinner-and-a-dateî movie. Dine at your own risk before viewing this feature. I f I had to choose one word to describe the difference between Jonathan Demmeís Silence of the Lambs and this sequel by Ridley Scott, it would be restraint.
For all the suspense and terror dredged up by Demmeís Oscar-winner, it is difficult to recall any scenes of graphic violence. Most of the horror was either spoken about or occurred off screen.
Not in Scottís Hannibal. He shows it all and seems to relish it.
Basically what it highlights is a divergence in style and technique. For Demme, less was more. He was satisfied with leaving many of the filmís gruesome details to the imagination of the viewer.
Scott, not wanting to trust the audience of force it to think, spotlights every depravity. I prefer Demmeís approach, but Iíve always felt ó like the master filmmakers of years past ó that what is most terrifying is what the viewer conjures in his or herís mindís eye.
Another difference between the two films is in the presentation of Hannibal Lecter. In Silence of the Lambs, you were fascinated and appalled by his actions and while ìrootî may not be the exact emotion, you probably admitted to yourself that you were glad to see him roaming free at the finale.
In Hannibal, Lecter again portrayed by Oscar-winner Anthony Hopkins, is the nominal hero of the piece. While in Silence, your sympathies and emotional ties centered on FBI trainee Clarice Starling (Oscar-winner Jodie Foster), in this sequel your investment is with the good, bad doctor.
And thatís because screenwriters David Mamet and Steven Zaillian, working from Thomas Harrisí best-selling novel, give us people seemingly more morally corrupt than Lecter.
How can that be since Lecter not only kills his victims, but eats them?
Simple. Itís because those seeking Lecter are doing so ó not for justice ó but for revenge and out of avarice.
The revenge is orchestrated by Mason Verger, a billionaire who once was a patient of Lecter. Lecter convinced Verger, a pedophile, to peel the skin from his face, leaving him horribly disfigured. Verger (played by an unrecognizable and unbilled Gary Oldman) has bred a pack of wild boars for the specific purpose of chomping on Lecter.
The avarice comes in the guise of a Florentine police detective, Pazzi (a scruffy Giancarlo Giannini), who plots with Verger ó for a price ó to capture Lecter and deliver him for his retribution.
And finally there is Justice Department official Paul Krendler (Ray Liotta) who also plots with Verger to use Starling (now played by Julianne Moore) as bait to lure in Lecter.
As Lecter, Hopkins remains the quintessential human cobra, ready to uncoil and spring in a second. What is lacking in his performance is that element of surprise that was so captivating in the original. He is a more flamboyant Lecter and thus his sense of menace is diminished.
Moore, as the more mature and cynical Starling, nearly makes you forget Foster. Nearly, being the operative word. Mooreís Starling remains the moral heart of the story, unbending, single-minded, dogged and dedicated.
Yet in Mooreís eyes you can see the doubts, the questioning that has helped to erode Starlingís youthful idealism.
Hannibal, at two hours and 10 minutes, is a bit uneven. The suspense fails to build as in the original. Here, Scott gives you a series of set pieces aimed more to shock than create tension.
The movie is very stylish, very colorful, as is Scottís trademark. It also is very bloody and gross, almost gratuitous.
Where as Demme would pull back, Scott charges in at full speed, making sure the audience has the time to savor every sickening act.
It is difficult for any sequel to live up to its predecessor, especially one as anticipated as Hannibal. That it succeeds most of the time is a tribute to the collaborative efforts of the filmmakers and stars.
Yet, you walk out of Hannibal a bit shocked and dazed, but ultimately unsatisfied. Itís as if Scott served you an appetizer and a dessert, but forgot the entree.
Bob Bloom is the film critic at the Journal and Courier in Lafayette, IN. He can be reached by e-mail at bloom@journal-courier.com or at bobbloom@iquest.net Other reviews by Bloom can be found at www.jconline.com by clicking on golafayette. Bloom's reviews also can be found on the Web at the Internet Movie Database: http://www.imdb.com/M/reviews_by?Bob+Bloom
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