With the exception perhaps of Alfred Hitchcock's 'Psycho', 'Silence of the Lambs' - in which FBI agent Clarice Starling (Jodie Foster) must consult psychotic psychiatrist Hannibal ('the Cannibal') Lecter from his maximum security cell in her pursuit of another serial killer - is the most popular and most famous psycho-thriller ever put on screen, and has transformed Anthony Hopkins, who plays Lecter, into a Hollywood mainplayer, a knight of the realm, and a spokesperson for Barclays Bank (which apparently sees no irony in being associated with a ruthless, arrogant maneater). This is not to say that the film was without flaws. So intense and mesmerising were the scenes between Starling and Lecter - essentially a subplot in the film - that the main plot, when it came, was little more than a limp, forgettable appendage.
In the sequel, 'Hannibal', Sir Anthony reprised his role with gusto, although Foster had lost her appetite for the affair and was replaced by Julianne Moore. The film had its tasty bits, but it quickly became clear that Lecter is a far more compelling character when he wields his malign influence from behind bars - once unconfined, he seemed as much of a ham as the trained killer pigs that pursue him in the film.
'Silence of the Lambs' and 'Hannibal' were screen adaptations of the second and third novels in Thomas Harris' Hannibal trilogy - and in the wake of their box-office success, Hollywood has decided to exercise the prequel option by going back to the first novel in the trilogy, 'Red Dragon'. In a way, this film represents all of the good things about its predecessors, with none of the bad. In a brief prologue, we see how Lecter (Anthony Hopkins again) was first outwitted and apprehended by Special Agent Will Graham (Edward Norton). Some time later, Graham has recovered from his injuries and retired to live with his wife and son, but is persuaded to take 'one last case', involving a serial killer dubbed 'the Toothfairy' who carries out ritualistic slaughters of families every full moon. At an impasse, Graham is forced to consult Lecter behind bars, just like Starling did before (or, technically, after) him. Again we are treated to magnetic scenes involving mind games and manipulation, only this time with the added bonus that Lecter bears a genuine grudge against his interlocutor and is out for revenge. Even better, this time the killer is a flesh-and-bones character rather than a grunting cipher, and his storyline is well developed and engaging in its own right.
Director Brett Ratner has assembled an impressive cast, including Ralph Fiennes, Harvey Keitel, Emily Watson, and Philip Seymour Hoffman. There are enough canny references to the 'previous' two films to keep any fan of the series happy, including the sight of Lecter already making a meal of his hopelessly inadequate nemesis from 'Silence of the Lambs', Dr Chiltern (again played by Anthony Heald). In a way, however, this is precisely the film's problem: like so many sequels, it is burdened by its own history. Too many of its scenes are second takes (albeit improved ones) of elements that are all too familiar from the other films. Besides, 'Red Dragon' is itself in effect a remake of Michael Mann's much overlooked 'Manhunter' (1986), which, despite all its cloying, 'Miami Vice'-style slickness, is still sufficiently similar to Ratner's film to make you wonder why Ratner has bothered. 'Red Dragon' is good - in fact, probably much better than all its predecessors - I only wish that it had been the first, rather than the last, in the series.
In the sequel, 'Hannibal', Sir Anthony reprised his role with gusto, although Foster had lost her appetite for the affair and was replaced by Julianne Moore. The film had its tasty bits, but it quickly became clear that Lecter is a far more compelling character when he wields his malign influence from behind bars - once unconfined, he seemed as much of a ham as the trained killer pigs that pursue him in the film.
'Silence of the Lambs' and 'Hannibal' were screen adaptations of the second and third novels in Thomas Harris' Hannibal trilogy - and in the wake of their box-office success, Hollywood has decided to exercise the prequel option by going back to the first novel in the trilogy, 'Red Dragon'. In a way, this film represents all of the good things about its predecessors, with none of the bad. In a brief prologue, we see how Lecter (Anthony Hopkins again) was first outwitted and apprehended by Special Agent Will Graham (Edward Norton). Some time later, Graham has recovered from his injuries and retired to live with his wife and son, but is persuaded to take 'one last case', involving a serial killer dubbed 'the Toothfairy' who carries out ritualistic slaughters of families every full moon. At an impasse, Graham is forced to consult Lecter behind bars, just like Starling did before (or, technically, after) him. Again we are treated to magnetic scenes involving mind games and manipulation, only this time with the added bonus that Lecter bears a genuine grudge against his interlocutor and is out for revenge. Even better, this time the killer is a flesh-and-bones character rather than a grunting cipher, and his storyline is well developed and engaging in its own right.
Director Brett Ratner has assembled an impressive cast, including Ralph Fiennes, Harvey Keitel, Emily Watson, and Philip Seymour Hoffman. There are enough canny references to the 'previous' two films to keep any fan of the series happy, including the sight of Lecter already making a meal of his hopelessly inadequate nemesis from 'Silence of the Lambs', Dr Chiltern (again played by Anthony Heald). In a way, however, this is precisely the film's problem: like so many sequels, it is burdened by its own history. Too many of its scenes are second takes (albeit improved ones) of elements that are all too familiar from the other films. Besides, 'Red Dragon' is itself in effect a remake of Michael Mann's much overlooked 'Manhunter' (1986), which, despite all its cloying, 'Miami Vice'-style slickness, is still sufficiently similar to Ratner's film to make you wonder why Ratner has bothered. 'Red Dragon' is good - in fact, probably much better than all its predecessors - I only wish that it had been the first, rather than the last, in the series.