Hannibal
© James C. Hess
She survived, but was condemned to a life of wearing prosthetic devices ending in stainless steel hooks while Singleton marked time in a prison until he was released to kill again.
In 1991 a film entitled "The Silence of the Lambs", about a serial killer with cannibalistic tendencies named Hannibal Lecter was theatrically released.
It was held up as High Art, and praised endlessly.
It would, also, forever leave a sickening, perverse impression on the collective consciousness.
In 1992 The United States of America elected William Jefferson Blythe Clinton the 42nd president, calling him the savior of the country, the world at large.
Eight years later he turned out to be a pervert, liar, and sociopath.
Less than a year after he left the highest office in the land the cannabilistic serial killer, Hannibal Lecter, returned, accompanied by much hyperbole, praise, and sycophantic tendencies by those who would willingly succumb to such horrors if for nothing more than the attention inflicted and the noterity such would bring them.
Those who, it seems, when Kitty Genovese was sliced to death in the courtyard of her apartment building, did nothing beyond turning up the volume on their televisions.
It was the socioanthropologist Margaret Mead, I believe, who said if one is interested in the mental health of a given civilization or society, look no further than their politics and arts for determination of same.
Ours, in general, is one sick life form. Oh, yes. And given the praise heaped on "Hannibal", the sequel to "The Silence of the Lambs", prior to its release, it really comes as no surprise, this revelation.
What comes as a surprise, a revelation, is the unrepenting lust for this film, for what it embodies and represents.
"Hannibal" is a sick, twisted, demented, perverted, deviant effort presented as Art. It isn't. But never mind. That is the least of the problems of this film:
Unlike "The Silence of the Lambs", superficially a clinical examination of a male serial killer, "Hannibal" is a pulp work, lacking focus, sharpness, brilliance, and brief genius. Unlike "The Silence of the Lambs" there is really no point to "Hannibal" as a film: The only major returning element is Sir Anthony Hopkins as Hannibal Lecter. Clarice Starling, played previously by Jodie Foster, is now played by Julianne Moore. Director Jonathan Demme has been replaced by Ridley Scott. And screenwriter Ted Tally, who actually did justice to Thomas Harris' novel, has been succeeded by the ever-foulmouthed David Mamet (aided by Steven Zaillian).
