Plot Intro
FBI trainee Clarice Starling (Jodie Foster) is assigned to interview imprisoned cannibalistic serial killer Hannibal Lector (Anthony Hopkins) in the hopes of gaining information about another serial killer whom the FBI are trying to catch nicknamed Buffalo Bill (Ted Levine). In the process, Starling and Lector become slowly fascinated with each other, and Lector agrees to help Starling in her investigations - as long as she reveals her innermost demons to him…
Horror is a genre that doesn’t get much of a look-in at the Oscars. Before 1991, The Exorcist and Jaws were the only Best Picture nominees to fit into this category. Then along came The Silence of the Lambs. Not only did it become the third and, so far, final film to achieve an Oscar Grand Slam (winning Best Director, Screenplay, Picture, Actor and Actress), but it is also the only Best Picture winner to be legitimately described as “shit-scary”.
This is one of the darkest horror-thrillers ever made, and it unashamedly dissects the most immoral and stomach-churning elements of American society- a far cry from the more hopeful, enlightening sentiments of the previous year’s winner, Dances With Wolves. Every character in this movie has some kind of darker aspect, ulterior motive or deep secret that is not immediately obvious. Doctor Chiltern, who keeps Lector incarcerated, is so disrespectful and self-serving that his eventual comeuppance gains no sympathy whatsoever; the Senator whose daughter has been kidnapped by Buffalo Bill is hugely uncooperative with the one person who can help her (Lector); and even Starling’s boss, who promises to further her career, uses her as a puppet in order to extract information from Lector. Even Starling has some suppressed childhood memories (the titular lambs and their eery silence), but what makes her heroic is that she uses that sadness to battle the darkness of the world. And Lector…well, Lector is Lector. But at least he makes no secret of his uncontrollable monstrousness.
In this pessimistic film, the lines between good and evil are blurred. Characters in positions of power who would traditionally be “good” people turn out not to be the saints they think they are. Images of dirtied or fallen American flags pop up like Easter eggs throughout the film- emphasising this image of a broken America full of immorality. The image of the butterfly, representing rebirth, is also used profusely, but the irony is that it is the primary villain, Buffalo Bill, who is obsessed with this image. Countries such as America may complacently convince themselves that they are “reborn” as butterflies- but the reality is far less attractive.
But there is one ray of hope: Clarice Starling. She is ogled at by her colleagues, hit on by interviewees, put down by uncooperative cops, and psychologically shaken by Lector. But she relentlessly and calmly navigates this gauntlet of masculine oppression to save the day at the terrifying climax single-handedly. This is, under heavy disguise, a very feminist movie about a woman triumphing in the traditionally male-driven world of crime. And Jodie Foster is an absolute revelation. Coupled with Anthony Hopkins’ pant-stainingly scary performance as Lector, what you will see in this movie is an example of the best acting that Hollywood can offer.
The Silence of the Lambs is a pessimistic depiction of a disintegrating society, something that would become fashionable in the crime thrillers of the 90s (see Along Came A Spider and Se7en for further examples of this). But, for those of us who like more simple entertainment, it is one of the most gripping crime movies and most frightening thrillers ever made. A blood-curdling delight.
Highlight
The two-way scene in which Starling reveals her childhood memories of the lambs’ screaming to Lector. It’s dialogue-heavy, but intensely directed and acted. It should be used as a case study for phenomenal acting.
Lowlight
Absolutely nothing. This is a perfectly crafted movie that never relents or rests on its laurels.
Mark
10/10
You know a film’s good when it’s been lampooned mercilessly. In fact French & Saunders’ spoof is so well observed that it’s impossible not to think about it when watching the original. But Silence is so good that it still rises above this, continuing to be truly frightening and dark by turns.
As Paul says, it’s a triumph of acting. And actually the feminism of Silence has been disputed, with valid attacks by feminist campaigners pointing to how women are degraded and cut apart. However I’d argue it is feminist, purely because it makes such a point of clearly showing Clarice fighting institutionalised sexism adeptly to eventually save the day. The moment when the prison guard tries to chat her up is a really good example of this; with Clarice knowing she has to keep him on side, but not wanting to cave and go out with him. Her subtle, quick dismissal is brilliant, keeping it professional and cool in an environment which seems tense with danger.
Interestingly, Hannibal has been described by various people in the making of Silence as a ‘good man with psychotic tendencies’. And Hopkins plays this. He is unfailingly polite, and his previous work as a therapist shows his ability to understand and emote with others. It’s just a shame his murderous cannibal tendencies obscure this. Ah well.
It’s genuinely very tense, with classic horror ‘jump out of your skin’ moments including when Clarice investigates an old lock up, the terrifying final scene (mostly in the dark), and of course the iconic moment when she walks down the corridor of gibbering madmen to find Hannibal standing, silently, waiting for her.
And it’s a marvellous scene, the best in the film. Both Foster and Hopkins are at their best here, with Hopkins’ intrigue mingling with his desire to frighten and Foster determined not to run away screaming.
As for Buffalo Bill - he’s just bizarre and nasty. And who even has a well in their house?
Highlight
That scene when Clarice walks down to meet Hannibal is just so enigmatic, and somehow made even better by the memory of the French & Saunders spoof complete with yelling Krankies.
Lowlight
It does lose a little pace for me towards the end, and then it picks up again. I think I mostly enjoy this film for the Clarice/Hannibal scenes.
Mark
9/10
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