The continuing saga of Hannibal Lecter, the murdering cannibal. He is presently in Italy and works as a curator at a museum. Clarice Starling, the FBI agent whom he aided to apprehend a serial killer, was placed in charge of an operation but when one of her men botches it, she's called to the mat by the Bureau. One high ranking official, Paul Krendler has it in for her. But she gets a reprieve because Mason Verger, one of Lecter's victims who is looking to get back at Lecter for what Lecter did to him, wants to use Starling to lure him out. When Lecter sends her a note she learns that he's in Italy so she asks the police to keep an eye out for him. But a corrupt policeman who wants to get the reward that Verger placed on him, tells Verger where he is. But they fail to get him. Later Verger decides to frame Starling which makes Lecter return to the States. And the race to get Lecter begins. Written by
The phone number in regards to the $3,000,000 Hanibal Lecter award on the FBI web site is listed as 1-212-555-0118. Once he calls this number Pazzi is referred to a lawyer in Geneva, his number is 004123317. The last digit (or maybe first) is not heard. See more »
The typeface on Lecter's copy of the Washington Post is different from what the Post uses for their headlines and text. See more »
[in a letter to Clarice]
Your job is to craft my doom, so I am not sure how well I should wish you. But I'm sure we'll have a lot of fun. Ta-ta, "H."
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After fading to black, the alternate ending features a new voiceover-- Hannibal: Clarice, would you ever say to me, "Stop. If you really love me you'll stop?" Clarice: Not in a thousand years. Hannibal: Not in a thousand years? That's my girl. See more »
I don`t know if it existed in the novel of SILENCE OF THE LAMBS but the impression I got from that film was that Clarice Starling was very uncomfortable in the presence of men . This character trait is totally ignored in HANNIBAL as the film opens with Agent Starling asleep in a police van surrounded with men and as the film continues we see that the Clarice Starling of this version is a strong willed and assertive woman at odds with the timid insecure girl of the 1991 film . I guess some people may say this is character development but I`d call it a lack of internal continiuty and I wasn`t too happy with the way the character was underused either.
Julianne Moore made little impression with her portrayal of Starling though that`s through little fault of her own because it`s always the most difficult job of an actor playing a role made famous by someone else , and as I said Starling is sidelined in much of the film . But still I would have liked to have seen Jodie Foster return to the part . As for the other actors Hopkins is competent but by no means spell binding , Liota gives the impression that a robot played his role throughout the film and not just in * THAT * scene , Giancarlo Giannini is good , but Gary Oldman absolutely steals the show as Mason Verger playing the role just the right side of camp complete with some great make up .
As for the other aspects of HANNIBAL Ridley Scott directs with an almost operatic touch , and I mean that both figuratively and literally . You really do get the feeling watching this that Scott`s ambition in life is to do a remake of AMADEUS with Hopkins in the role of Atonio Salieri . But the one major flaw with HANNIBAL is the script by Mamet and Zaillian . Again I have little idea of what the novel is like since my entire knowledge of it is confined to what I`ve read about it on this site but a couple of screenwriters with their great track record should be able to produce a satisfying screenplay no matter how poor the source novel . Here they fail , especially with the ending which is riducously over the top . But it was probably a good idea to omit Verger`s lesbian sister as this would have made the film descend into a camp joke
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