F.B.I. trainee Clarice Starling (Jodie Foster) works hard to advance her career, while 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 (Scott Glenn). While she is still a trainee, Crawford asks her to question Dr. Hannibal Lecter (Sir Anthony Hopkins), a psychiatrist imprisoned, thus far, for eight years in maximum security isolation for being a serial killer 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" (Ted Levine), who has so far killed five victims, all located in the eastern U.S., all young women, who are slightly overweight (especially around the hips), all who were drowned in natural bodies of water, and all who ...Written by
Stayed on top of the U.S. box-office for five weeks. See more »
When Sgt. Pembry is preparing to handcuff Dr. Lecter to the bars of his cell while bringing in his requested second supper, he has Lecter sit with his back to the bars and his arms thrust behind him in order secure the shackles. It's obvious that Dr. Lecter has been waiting for a fair amount of time between his first meal and his second serving because his drawings and magazines are spread over the entire desktop surface. A closeup of the Lecter's arms shows red, discolored wrists. 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 scene where Miggs throws sperm at Clarice is shown from the different angle in the TV network version, so the audience can't really see what Miggs is throwing. 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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