Click here for a list of all other films reviewed and considered for this October 2012 series of horror reviews.
The killer's gaze is turned back on the audience, turning the power structure of the horror film around. |
The Silence of the
Lambs turns the serial killer and slasher film genre on its head by
crafting the most compelling character not as the killer whom the FBI is
hunting, but as the already convicted Hannibal Lecter, who sits in a basement
cell and may have crucial information to help them catch their man. More
remarkable than that is that everyone remembers Lecter as this imposing and
frightening villain, a role that helped Anthony Hopkins win the Best Actor
Oscar, but he is on screen for all of 16 minutes. That speaks to the power of
seduction that he possesses.
As I watch the movie now, I realize that Hopkins won the
Oscar (among other awards) for what is essentially a gimmicky performance. It’s
a juicy role that garners attention. He’s a villain, but one who has so many
redeeming qualities it’s nearly impossible to ignore the fact that he’s a
secondary protagonist. The AFI chose him as one if it’s top movie villains, but
this is a misnomer for Lecter. He’s not an antagonist to Clarice Starling, the
FBI trainee enlisted to coax information out of him. In terms of narrative
function, the real villain, the real threat to societies moral fabric and to
Starling’s life at the end, is serial killer Buffalo Bill. Lecter operate by a
code. It’s a morally twisted code, to be sure, and one that results in the
deaths of what any rational person would consider innocents, but it’s a code we
recognize as at least partially rational. We know, as Starling knows, when
Lecter escapes he will not come after her. He has no qualms with her. But in
the closing scene, when he places a courtesy call to her and announces, “I’m
having an old friend for dinner,” before the camera reveals him stalking his
old sadistic psychiatrist Dr. Chilton, we feel satisfaction that a repugnant
doctor is getting his comeuppance.
The adaptation by Ted Tally from the popular Thomas
Harris novel is faithful while excising enough material to make it manageable
within the constraints of a feature film running time. So many films adapted
from novels today run well over the two hour mark. It was so nice twenty years
ago when an adept screenwriter could take a longer piece of work and cut it
down to something that still makes sense. Of course plot-driven books like Silence of the Lambs and other thrillers
should be easier to squeeze into a shorter space of time. Tally devotes the
right amount of screen time to the process of investigation. It never turns dry
because the intercut scenes between Starling and Lecter are the lifeblood of
the film. Lecter speaks in riddles, so while his scenes are investigative in
nature, it’s not about forensics and physical evidence but rather about psychological
probing and toying.
The novice Starling represents not a perfect and equally
clever foil for the brilliant and cunning Lecter, but an innocent who piques
his curiosity and interest. She is someone he can guide and mold. In Jodie
Foster, director Jonathan Demme found an actress who could deftly express both
Starling’s tremendous fortitude and the vulnerability that comes from her
fledgling status. The role is a real actorly one that doesn’t rely on flash,
teeth gnashing, scenery chewing or makeup. Foster is rock solid as this above
average character in an extraordinary situation.
As a director, Demme has this unsettling habit of having
his characters gaze either directly into camera when addressing an off camera
character. In Silence of the Lambs he
uses the technique to gently suggest Starling’s first person point of view. He
never uses it when she’s on camera. The result is a thriller that is seen
mostly through Starling’s eyes. His use of the technique here adds to the
horror atmosphere and turns the genre around in a startling way. The horror
genre is known for shots from the perspective of the killer turning his gaze on
his potential victims. Here the gaze is from the hero and turned upon Lecter,
who is himself a monstrous presence. I was less convinced of Demme’s use of the
technique in later films like Philadelphia
and Beloved.
SPOILERS: As a
horror film, The Silence of the Lambs
succeeds at being smart about instilling terror in the viewer. Truly this is a
thriller with horror elements, in particular the set piece of Lecter’s escape
from his cell by fashioning a lock pick out of a pen and then using the facial
skin from one of his victims to conceal his own and let the guards take him out
in an ambulance. The sequence is expertly constructed to create a sense of
trepidation unequaled anywhere else in the film with the possible exception of
the climax which has Starling being trailed by Buffalo Bill in a pitch black
basement. But the sheer length and complexity of editing in the escape scene
set it far above and beyond anything else in the movie. Finally, with the
possible exception of the use of his voice in Joy Ride, Ted Levine has probably never been better cast than as
the troubled serial killer Buffalo Bill. His deep voice alone casts his scenes
with fear trembling.
I remain not entirely convinced that this is one of the
best movies of all time or even of the latter half of the 20th
century. I would, however, place it squarely atop the list of thrillers and
other police procedurals.
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