The appearance of the new film
adaptation of Thomas Harris’ novel, Red
Dragon, suggests some odd and complicated ideas about literature, cinema,
and maybe ourselves.
ย ย ย ย ย ย ย ย ย ย ย For
one thing, as that rara avis — a
prequel which is also a remake (in this case, of a 1986 movie entitled Manhunter, much of which it duplicates)
— Red Dragon anticipates a future
already known to an eager audience through The
Silence of the Lambs and Hannibal.
ย ย ย ย ย ย ย ย ย ย ย For
another, this movie only exists because of the power and popularity of Hannibal
Lecter, who’s merely a secondary character in Harris’ first two serial killer
novels, but who became the title figure in Red
Dragon‘s most recent cinematic predecessor.
ย ย ย ย ย ย ย ย ย ย ย Most
important, all three novels — and now, the three movies — constitute an
extremely unusual achievement: an extraordinarily successful trilogy (which
will undoubtedly become a tetralogy) constructed around not a hero, but a
villain. Without invoking even a hint of the supernatural, Lecter transcends
the at-least-minimally-comprehensible evil of any known human psychopathology.
And, God forgive us, we love him.
ย ย ย ย ย ย ย ย ย ย ย The
new movie depends heavily on the audience’s familiarity with The Silence of the Lambs and Hannibal. It acknowledges and emphasizes
its links to those films in some occasionally obnoxious visual asides: coy
references, underlined phrases, arch glances directed right at the camera, a
series of smug smirks and fawning gestures intended to gratify the initiated.
In addition to reintroducing a familiar character, the movie, like its original
source, repeats a pattern of action and behavior, and a configuration of
characters, established in the earlier works.
ย ย ย ย ย ย ย ย ย ย ย The
film opens with an efficient and entertaining expository sequence. Our old
friend Hannibal Lecter (Anthony Hopkins) is seen displaying mild annoyance at
one of the musicians playing the flute in a symphony orchestra. He’s then seen
serving a gourmet meal to fellow members of the orchestra’s board, who
unknowingly consume something like filet of flautist. Later the same evening,
Will Graham (Edward Norton), the FBI agent consulting Dr. Lecter about a serial
killer case, belatedly realizes the psychiatrist is the killer he seeks, and
almost dies in an attempt to apprehend him. A series of sensational headlines
and photographs in a sleazy supermarket tabloid then recount the murders, the
hideous revelations of the trial, and the eventual imprisonment of Hannibal the
Cannibal, as well as the retirement of Will Graham.
ย ย ย ย ย ย ย ย ย ย ย The
picture then reopens, with Graham’s former boss, Jack Crawford (Harvey Keitel),
pressuring the reluctant agent into service again to track down another serial
killer: a slayer of whole families, whose bite marks on the victims have earned
him the sobriquet of the Tooth Fairy. Although he makes some progress on the
case, Graham once again must consult Lecter, who taunts and teases him in his
usual manner, dropping helpful hints and bartering insight for privileges. The
movie alternates — with compelling detail, convincing authenticity, and the
slick pace and polish that characterize the series — between the investigation
and the activities of the killer, whose ingenuity increases along with the
intensity of his obsession and his insanity.
ย ย ย ย ย ย ย ย ย ย ย Throughout
the trilogy, Jodie Foster, Julianne Moore, and now Edward Norton all play
essentially the same earnest, low-key, decidedly ordinary investigators, who
are justifiably afraid of the man they desperately need: the brilliant,
manipulative fiend they must interrogate. More than any of his predecessors,
Norton’s character understands that his success as a manhunter derives from the
uneasy acknowledgment that he has a special understanding of certain kinds of
killers, a sense of the monster lurking within the maze of his own psyche.
ย ย ย ย ย ย ย ย ย ย ย Lecter
provides the one constant in the books and movies, a disturbing proof of the
compelling attraction of pure evil, the fascination of the abomination. His
presence overwhelms not only the major characters, but also the Tooth Fairy,
the actual killer of Red Dragon. In
fact, Ralph Fiennes provides only a pallid and sickly impersonation of Francis
Dolarhyde, the disfigured bodybuilder obsessed and inspired by William Blake’s
painting, The Red Dragon and The Woman
Clothed With the Sun. For whatever reason (perhaps the vanity of movie
stars), his supposed disfigurement is barely noticeable, and his muscular
development — which everybody, including his momentary lover (Emily Watson)
mentions as significant — is, in reality, nonexistent. He doesn’t seem very
tall or strong. His physique looks quite ordinary.
ย ย ย ย ย ย ย ย ย ย ย In
the absence of a scary villain or any other strong characters — which must
result from a conscious decision of the scriptwriter and director — Hopkins
must carry the picture. He succeeds admirably. Although he adds nothing new to
a character who must be second nature to him by now, he maintains the part
nicely. In Red Dragon, he continues
Lecter’s self-satisfied manner in the condescension with which he treats Will
Graham, the pleasure he takes in outwitting his questioners, his delight in the
exercise of a powerful and malevolent intellect, and even his measured
enjoyment of one of his horrors of gastronomy. The character is a brilliant
invention, for which Thomas Harris, his various adaptors, and Hopkins deserve
enormous credit.
ย ย ย ย ย ย ย ย ย ย ย It
may say something not entirely wonderful about contemporary culture, but like
it or not, the most memorable fictional character of the last decade is
Hannibal the Cannibal.
Red
Dragon,
starring Anthony Hopkins, Edward Norton, Ralph Fiennes, Harvey Keitel, Emily
Watson, Mary-Louise Parker, Philip Seymour Hoffman, Anthony Heald, Ken Leung,
Frankie Faison, Tyler Patrick Jones; based on the book by Thomas Harris;
screenplay by Ted Tally; directed by Brett Ratner. Cinemark Imax; Cinemark
Tinseltown; Hoyts Greece Ridge; Loews Webster; Pittsford Plaza Cinema 2; Regal
Culver Ridge; Regal Eastview; Regal Henrietta.
This article appears in Oct 9-15, 2002.
