The Silence of the Lambs

Director Jonathan Demme redefined his already diverse career with 1991's THE SILENCE OF THE LAMBS, an adaptation of Thomas Harris' novel.  Nothing Demme had filmed prior (including LAST EMRACE, a Hitchcockian nod) suggested the approach he would employ here, resulting in a tense, at times terrifying ringer that resonated with audiences and critics, taking the all the top awards at Oscar time.  Not many films released on Valentine's Day win Best Picture, but Demme's surefooted thriller was impossible to deny on just about every level.

Ted Tally's screenplay gives us a vivid character sketch of the brilliant serial murderer/cannibal Hannibal Lecter, marvelously portrayed by Anthony Hopkins.  Through FBI trainee Clarice Starling (Jodie Foster) we learn of his grisly history and observe his current status as prisoner in ultra maximum security, housed in a cell behind thick glass.  Starling has been recruited to question Lecter, to seek his assistance in ferreting out another monster, an at large sickie called "Buffalo Bill" who targets full figured women for reasons you can learn on your own.  Lecter is one of the most compelling characters ever to flicker on a screen, or to grace a page. A creature whose intelligence is his most terrifying trait, one that perhaps makes him unstoppable.  You truly "don't want him in your head."

Hopkins plays Lecter with what I feel is the right amount of show, a certain theatrical flair that seems appropriate for this character.  It's a much different take than that of Brian Cox in Michael Mann's MANHUNTER, who I also felt was excellent.  One interpretation does not overshadow the other.

The effectiveness of this story is not entirely from thriller elements or set pieces.  It's the chess game between Lecter and Starling, a wide eyed recruit finding her way in the Academy among the intimidating stares and attitudes of her mostly male peers.  Demme plays up the character's tightrope act in just about every environment, and thus creates a strong portrait of feminism, one that is cheer worthy.  But this is not a tract, or a heavy handed bit of liberal morality.  Foster is quite perfect in her role.

The gruesomeness of this tale is also not glossed over (or overplayed) and the details of police work feel authentic.  I do think a lengthy sequence following Lecter's escape felt a little action movie genre-ish and out of sorts with much of the rest of the picture, but it was so skillfully brought off I never minded.  The psychological and emotional intensity burns with so much power throughout the movie that traditional action scenes suffer in comparison.  The tone is always just right, so ominous as to be almost tangible.  I think David Fincher paid attention.

My current favorite moment from SILENCE OF THE LAMBS - the autopsy scene.  It is a testament to Demme's direction, the actors' performances, and Craig McKay's editing.  Everything we need to know about the story is right there.  Genius.

Demme had directed a few quirky comedies in the '80s and while the tone of this film is as far from them as might even be possible, some wry humor is nicely dispersed through THE SILENCE OF THE LAMBS.  But the director successfully transitioned, focused, and refused to be pigeonholed.  A great success.  Criterion regained the rights from MGM and released another enviable package for the DVD and Blu-ray releases.