FBI trainee Clarice Starling works hard to advance her career, including trying to hide or put behind her West Virginia roots, of which if some knew would automatically classify her as being backward or white trash. After graduation, she aspires to work in the agency's Behavioral Science Unit under the leadership of Jack Crawford. While she is still a trainee, Crawford does ask her to question Dr. Hannibal Lecter, a psychiatrist imprisoned thus far for eight years in maximum security isolation for being a serial killer, he who cannibalized his victims. Clarice is able to figure out the assignment is to pick Lecter's brains to help them solve another serial murder case, that of someone coined by the media as Buffalo Bill who has so far killed five victims, all located in the eastern US, all young women who are slightly overweight especially around the hips, all who were drowned in natural bodies of water, and all who were stripped of large swaths of skin. She also figures that Crawford... Written by
Ed Harris turned down the role of Jack Crawford because he didn't find the role interesting, and would rather have played Hannibal Lecter. He partially got his wish when he played a jailed serial killer who assists in solving a murder in Just Cause (1995) See more »
After Lecter is transferred to Memphis to the freestanding cell, Clarice delivers his drawings left behind in Baltimore. As Chilton and the police are escorting Clarice out and she flies back to Virginia, the scene pans across the desk in Lecter's cell revealing a drawing of Clarice with a Lamb. Either the drawing was done before he left Baltimore (before he knew about the 'screaming of the lambs') or he did the complete and extensive drawing in less than a few hours. See more »
After the Copyright notice and MPAA logo, a logo appears with the text "A Luta Continua". This is not a production company credit; instead, it's Portuguese for "The Struggle Continues" ("To be continued"). See more »
The Silence of the Lambs, having accomplished the rare feat of winning all five of the major Academy Award categories, is a remarkable achievement in filmmaking. Gruesome, pulpish material was transformed by dedicated participants on all levels of production, and a film that would have failed in the hands of many others wound up becoming a modern masterpiece. Taut direction and a superb screenplay might be the best arguments for the film's power, but the flashiest are certainly delivered in the bravura performances of Hopkins and Foster. Their interplay -- and remember, they only share a handful of scenes together -- is nothing short of riveting.
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