Refn brings his wild sensibilities to a dark fantasy epic involving the possible course of a Viking trip to North America before anybody other than the Natives set foot on its ground.
Bleeder. 1999. Directed & Written by Nicolas Winding Refn.
Starring Kim Bodnia, Mads Mikkelsen, Rikke Louise Andersson, Liv Corfixen, Levino Jensen, & Zlatko Buric. Kamikaze.
Not Rated. 98 minutes.
People who frequent this site will now be sick of my love for Nicolas Winding Refn. He divides people. Nowadays, some of his supposed fans are really just fans of Drive. Others like his earlier work but find his latest stuff in the past 10 years a bit too much. Furthermore, there are others like myself who enjoy every last inch of film on which he’s left his mark. Not only that, I enjoy his writing alongside his choices and style as director. Not everything works every bit of the time. However, Refn always manages to intrigue me. He pulls at the seams of the brain and makes it unravel, no matter if we’re stuck in the gutters of Copenhagen, the cluttered video shops and bookstores, or whether he’s got you traipsing across the landscape of some foreign place on the way to who knows where – his mind is always working to try and fuck yours. In one way, or another.
Bleeder is in the earlier portion of his career, where the main focus of the stories he told were based in the streets of Copenhagen. First with Pusher, he explored a criminal, drug world. This film is set in a similarly lower class environment in semi-rundown flats and other locations, the characters each lower to middle class types. Above all else, Refn sticks with the gritty, in your face realism of his first feature. Here in his second feature there’s a closer, more personal look into the life of a family that’s falling apart, all due to the husband’s inability to express himself or seek out what he truly wants, instead opting to go along with the status quo – get married, have a kid – when it isn’t what he wants.
The results are tragic and violent.
And ultimately, blood begets more blood.
The biggest, most evident part of Bleeder is how Leo (Kim Bodnia) is so obviously jealous of the single life. More importantly, his problems with the movies, the difference between reality and fiction are what bother him most. See, Lenny (Mads Mikkelsen) is a cinephile, much like myself. He spends a good deal of his time immersed in the world of various directors, auteurs and blockbusters and everything in between. At the same time, that also paints Lenny’s view on life a little unrealistically.
Or does it?
Compared to Leo and his fucked up life, the life he fucked up all on his own, the way Lenny approaches life is quite normal. Also, he looks at what Leo has and wants that while Leo is busy shitting all over it. Lenny’s a more reserved type, likely hoping a movie romance is going to fall into his lap, as well as maybe he’s a bit too reserved, a little anti social. But Leo is stuck in a life he’s not so sure he wants to live. His wife Louise (Rikke Louise Andersson) is pregnant, he doesn’t truly want a kid, then of course he winds up beating the hell out of her. So when he rags on Lenny for watching too many films and when he rages against a movie because it’s unrealistic, what’s really going on inside is that Leo is jealous.
He wants a different life, but won’t get one. Can’t now. So instead he decides to take control, unlike Lenny who he sees as aloof in the obsessive world of cinephilia. He buys a gun, he acts like a movie tough guy but in real life. However, in real life there are consequences. In the movies we see gangsters beat up on their girlfriends and nothing ever seems to come of it. They get off with everything, free to do as they please, to whomever they please. When Leo takes it upon himself to make his life into a real live motion picture, he also must face the consequences. Even better, the climactic moments of this story are wild and almost outrageous. Yet still they’re all too real. So real in fact that it’s almost nauseating.
The gritty qualities of the film are paralleled in the ultimate nasty, defining moment that comes in the last twenty minutes. Added to that, Kim Bodnia – perhaps the world’s most underrated actor – gives us a stellar performance. There’s a scene where he comes to and find himself tied up, hanging from chains, and there’s this odd, moaning sound that emanates from him, louder and louder, longer and longer. It’s actually chilling. Even before that he does a fascinating job with a despicable character. You can see him cracking, gradually, then over the course of the film watch him drift into oblivion. There’s a good progression to the character and it’s only made better with Bodnia in the lead, doing a fine job like he did with Refn’s Pusher as Frank.
Similarly, Mads Mikkelsen is awesome as Lenny. He is one of those actors that has wide range. In some projects he plays creepy, scary characters. Here, he’s a timid and shy guy that has trouble reaching out to women, and instead of being creepy or inappropriate merely keeps to himself. So there’s a nice quietude in his character in juxtaposition with all the horrific realities of Leo’s situation. Watching Mikkelsen an Zlatko Buric together in the video shop is a treat, so different from their interactions in Pusher. They have good chemistry. But Mikkelsen really takes us into Lenny, and you can’t help rooting for him to finally push through to meet that girl he’s interested in.
Finally I cannot forget Levino Jensen playing the character of Louis, the violently racist brother to Louise. This guy is actually endearing in the early parts, even if you know he’s a bit of a hard ass. He just has this affectionate quality to him when with his sister particularly. Then there’s a switch, as Leo oversteps his boundaries and abuses Louise. Afterwards, we see Jensen break out in the character, making Louis into an intimidating person despite his stature. That’s the mark of a solid actor, when the physicality is second to the pure, intense emotion they can bring to a part. Jensen is such an actor, which I honestly didn’t expect. But he adds plenty to the film with his performance.
As opposed to other works from Nicolas Winding Refn, Bleeder is a simple piece of cinema. That’s not to say it’s dumbed down. In fact, it is exactly the opposite. It is raw and to the point, it is brutish, bloody nearing the end and always compelling. This is a close view of violent men; not in the movies, but in real life. Whereas Lenny ends the film embracing a corporeal romance, something palpable and not only the world he loves in the movies, Leo winds up falling into a real life event and story which mirrors the best, bloodiest pieces of cinema out there. It’s perhaps this final hideous act of violence involving Louis and Leo that forces Lenny towards finally stepping into the world, outside the camera’s frame, and finding a life that doesn’t only involve the fictional space of film.
This is a great movie that does not get enough credit. It’s honest and open, while also having an almost surreal aspect in its more intense moments. Refn will always divide people, but I wil always find him interesting, even if I come across something eventually that I don’t like. For now, it’s all good, baby!
Jagten (English title: The Hunt). Directed by Thomas Vinterberg. Screenplay by Tobias Lindholm & Vinterberg.
Starring Mads Mikkelsen, Thomas Bo Larsen, Annika Wedderkopp, Lasse Fogelstrøm, Susse Wold, Anne Louise Hassing, Lars Ranthe, Alexandra Rapaport, Sebastian Bull Sarning, and Steen Ordell Guldbrand. Danmarks Radio (DR)/Det Danske Filminstitut/Eurimages/Film i Väst/MEDIA Programme of the European Union/Nordisk Film-&-TV Fond/Svenska Filminstitutet (SFI)/Sveriges Television (SVT)/Zentropa Entertainments/Zentropa International Sweden. Rated R. 115 minutes.
Both director-writer Thomas Vinterberg and actor Mads Mikkelsen are artists I truly admire. I came to Vinterberg while in film school, taking in his heavy 1998 Dogme ’95 feature Festen. Admittedly, it took me a couple views to really settle into it. Mainly because of the devastating subject matter. But once you get into the film and appreciate all its nuances, from its filming to the performances, the whole thing is an impressive experience. Mikkelsen I discovered not long after once watching Nicolas Winding Refn’s fantastic, gritty Pusher (and its equally kick ass sequel). After seeing these first bits of work, I watched more of their films the further into cinephilia I fell.
The Hunt brings two wonderfully talented artists together, with Vinterberg directing and writing alongside Tobias Lindholm, and Mads Mikkelsen starring, as well as Thomas Bo Larsen who appeared in the aforementioned Festen. Tackling a deeply sensitive subject, especially nowadays with too many of these cases cropping up in all corners of the globe, The Hunt is the story of modern day witch hunting, communal relationships, friendship, trust and everything else in between. Pedophilia is a terrible thing, and we’ve seen plenty films based around it – the people involved, the effects of its trauma. However, not many movies opt to take a look at another side of the coin. While too many cases involving a man molesting a child have come to light in modern times, there are also a few cases where men have been innocent, falsely accused of horrendous crimes they’ve never committed, nor ever intended to commit even in their worst state of mind. With this excellent script set in a small, close-knit town, Lindholm and Vinterberg show us one of those tiny fractions in a microcosm. Anchored by an amazing, devastating and all too human performance from Mikkelsen, The Hunt has stuck with me ever since I first saw it a couple years ago.
Lucas (Mads Mikkelsen) is a Kindergarten teacher in Denmark. He is a friendly, considerate man. Lucas has a son, as well as bitter ex-wife who doesn’t particularly accommodate him. His friend Theo (Thomas Bo Larsen) fights almost constantly with his own wife Agnes (Anne Louise Hassing). So Lucas often walks their daughter Klara (Annika Wedderkopp) to school, looks out for her and generally makes sure she is all right. However, Klara sees a pornographic magazine due to her piggish brother Torsten (Sebastian Bull Sarning) and his friend. Then later she kisses Lucas on the lips at school. When Lucas explains this is inappropriate and also gives back a little gift she made him, Klara is hurt. This prompts her to make allegations of abuse, though indirectly, against Lucas.
The town soon bands together calling Lucas a pedophile and predator towards children. His new girlfriend Nadja (Alexandra Rapaport) leaves after they have a fight, and he realizes even she doesn’t believe in his innocence. He and Theo are obviously at odds. But Lucas will not lie still and let them brand him as a child molester – something, or someone, must eventually break.
There’s a great change of perspective which happens in terms of how the camera captures Lucas, from before the accusation to after. Early in the film we see him rolling around with the children, very structured and steady shots of their playtime. Then, immediately after the accusation is brought to Lucas, we’re almost right inside his head. He’s standing outside and looks completely in his own world. As soon as a child bumps into him, touching his leg, there’s no longer a happy smile – we’re in a tight handheld shot, staring right at Lucas in the face, and you can feel how psychologically he’s been slammed by the accusation. This technique works so well to really unsettle us as the audience, along with Lucas who is absolutely reeling. This is only one instance of the great cinematography from frequent Vinterberg collaborator Charlotte Bruus Christensen (Submarino, Far From the Madding Crowd).
Even though we’re never given totally subjective moments, accessing the characters and their inner mind, we do get a very strong sense Lucas (Mikkelsen) is innocent. Particularly, after Klara (Wedderkopp) kisses him on the lips, you can really see how uncomfortable Lucas is about the situation. He specifically tells her “kissing on the lips is only for mom and dad“, it is not something appropriate, and even further he refuses the heart she made for him, as it’s not something a child should be giving their teacher (this day and age you can never be too careful). What’s so intriguing, and emotionally draining, is watching Mikkelsen play an innocent man, a man who by all rights would never ever harm a child especially not in such a way, and seeing his friends, the entire community rally against him. It’s actually hard to watch at times, even with nothing graphic being shown onscreen. Just to see Lucas be pushed around by his friends, to watch the looks on their faces change when they see him and how people treat him like vermin, it’s hard.
Part of all this beyond the screenplay is Mikkelsen. He’s got one of those faces which just pulls you in with such incredibly visible emotion. But you can see the pain in Lucas, right across Mikkelsen’s face and in his eyes, the way he moves and holds himself. There are so many scenes in this film alone where you’ll understand it, how Mikkelsen is one of the best actors today. The scenes with his son are wonderful, as well as the only friend who’ll stand by his side in such a time Bruun (Lars Ranthe). These two characters really help add a sympathetic side to Lucas, if you didn’t already find yourself sympathizing with the poor guy. All around, Mikkelsen does a perfect job at displaying the broken humanity in a man who is let down from all angles of his community and society in general.
This is a 5 star film. Whether or not you see the very end as literal or metaphorical, Thomas Vinterberg himself has clearly stated there is no rape at all. The whole thing is fabrication, so those people on the internet trying to determine “Who molested Klara?”, you’re barking up a non-existent tree. This film is first and foremost, and all, about the sad existence of false accusations towards adults who’ve never hurt a child. Plenty out there have tragically hurt children, but a small number end up with false accusations, undue hatred, and being completely ostracized by the people around them when they never did a thing. The Hunt has the guts to face the gale of such a situation, to present us with an unfathomable situation, as well as it demands answers. However, with the ending we’re left to wonder: even if the falsely accused are vindicated, will everyone go back to believing in their innocence, or is the hunt always on from then? Unfortunately, I sometimes find myself believing the latter. In the case of Mikkelsen’s Lucas I’m inclined to see that as a hard, brutal truth.
The Salvation. 2014. Directed by Kristian Levring. Screenplay by Anders Thomas Jensen & Kristian Levring.
Starring Mads Mikkelsen, Eva Green, Jeffrey Dean Morgan, Eric Cantona, Mikael Persbrandt, Douglas Henshall, Michael Raymond- James, Jonathan Pryce, Alexander Arnold, Nanna Øland Fabricius, Toke Lars Bjarke, and Sean Cameron Michael. Zentropa Entertainments/Forward Films/Spier Films/F.I.L.M.S./Det Danske Filminstitut/Danmarks Radio (DR)/Nordisk Film & TV Fond/Film i Väst/Department of Trade & Industry of South Africa/MEDIA Programme of the European Union/Nordisk Film Distribution/TrustNordisk. Rated PG. 92 minutes.
I haven’t had a chance to see Kristian Levring’s Fear Me Not, starring one of my favourite actors Ulrich Thomsen. So prior to The Salvation, I’d never experienced any of his films. Two reasons I came to this film: i) it’s a Western with Mads Mikkelsen, & ii) Anders Thomas Jensen co-wrote the screenplay with Levring; I am a huge admirer of Jensen’s films, all of which feature Mikkelsen (Flickering Lights, Adam’s Apples, The Green Butchers, & most recent Men & Chicken), as well as the fact he’s written other great movies like the fabulous and touching In a Better World.
For a long time I’ve loved Westerns. There are a flood of them out there. Although, if you search through them well enough all the cream will rise to the top. The classics will always reign on high, such as Once Upon a Time in the West, The Searchers, High Noon, The Man with No Name Trilogy; then we’ve got the more contemporary, now classics like Unforgiven, The Proposition, Tombstone, and in my mind The Assassination of Jesse James by the Coward Robert Ford. So there are no shortage of Westerns, nor is there a lack of masterpieces in the genre. That being said, there are many typical Westerns, cliched to bits. Others, while not bad movies, just seem uninspired.
Along comes The Salvation. This film, from screenplay to actual screen, takes on the Western in familiar tones. But all the same, Levring and Jensen’s script tackles a Western revenge tale with an innovative twist, fresh eyes, and from a very emotional standpoint. Not to mention there are plenty of ways you can parallel this tale of the supposed American Dream in the minds of foreigners to the struggle many face today. This is a great film, it is beautiful to look at. Above all else, the actors each play a huge part in making the film come alive and raise the bar for the modern Western genre.
Danish-American settler Jon Jensen (Mads Mikkelsen) has been in the Land of the Free for a while now. He and his brother Peter (Mikael Persbrandt) have learned the language, they’ve tended their own land and looked out for one another. Plus, they seem to be integrated into the community. However, things change drastically for Jon especially once his wife Marie (Nanna Øland Fabricius) and son Kresten (Toke Lars Bjarke) finally come to live there with him.
Upon their arrival, Jon takes his family by coach back to their home. Along the way, two men, Paul (Michael Raymond-James) and Voichek (Alex Arnold), accost Jon and his family. The conversation starts as only that, conversation, but the tone changes soon enough and the two strangers take Jon’s wife/boy hostage. Kicked out of the coach, he tries to run after them. Jon comes across the murdered corpse of his son. Then further down the road, he finds the coach – one man rapes his wife while the other takes watch outside.
After taking his violent revenge against the murderous rapists, Jon finds himself at odds with the local gangster Henry Delarue (Jeffrey Dean Morgan), whose brother happens to be the aforementioned Paul. When the entire town turns their back on Jon, only his brother Peter stands by his side. That is, until Delarue’s men do the unthinkable to him, as well.
Standing against the insurmountable forces of Delarue and his henchmen, Jon Jensen is forced to take arms in order to have his revenge, or die in the process.
If you’re not immediately floored by the whole opening sequence (about the first 20 minutes), then I’m not sure what would affect your sensibilities. Fact is, without showing too much director Kristian Levring creates so much suspense, a thick and undeniably nasty tension, which drew me into the film’s world so savagely it honestly took me awhile afterwards to come back to my senses. Not only is the direction great, as well as the writing between Levring and Jensen, Mads Mikkelsen – a long time favourite of mine since his turn in Nicolas Winding Refn’s Pusher & Pusher II: With Blood on My Hands and recently his work as Hannibal Lecter on NBC’s unusually amazing series – performs his character’s anger and woe so subtly it’s impossible to turn away from the power. I’m not trying to pit American v. European v. anywhere else actors here, not at all. However, there are certainly some (North) American actors who come to mind that are very exuberant, almost too much so at times. Especially when it comes to revenge styled movies, such as this one. For instance, even though I’m a Sean Penn fan (as an actor; not so much as a person), and I love his turn in the movie, Mystic River contains a pretty wild performance out of him – not at all times, though, in some scenes he is very much going heavy. Whereas in The Salvation, right out the gate, Mikkelsen delivers so much intensity and heartache without having to do anything overtly emphatic. He simply acts with all the emotion in him available, just seeping it out of his skin; the look on his face, his body language, the bunch of bullets he pumps into his family’s killer even after the guy is dead. And like I said, these are only the first 20 minutes (19 and a half if we’re getting specific). From there on in, Mikkelsen has lots more to do, and does it to near perfection.
Then we’ve also got Jeffrey Dean Morgan, whose performance as the big bad in this Western comes as a surprise to some. Not to me, though. Even while I’m not a huge fan of the Watchmen adaptation (it’s real good; just not as good as it should/could have been), Morgan impressed me as The Comedian. Also, my girlfriend watched a bit of Supernatural, and I found him pretty good in that. Then in the mediocre movie Texas Killing Fields, he was one of the only things I actually enjoyed a nice deal. But some people seem him as this good guy type. Maybe I’ve not watched enough of Morgan to feel that way. I see him as a guy with a dark side, even though I think he has good range. So here, in The Salvation, I was pleased to see him in a truly outright bad guy role. It doesn’t take long to figure him out, but not in a transparent way – you just feel how mean the dude is, right from his first appearance. It only gets more unpredictable and even more nasty once Morgan shows us how brutish his character Henry Delarue can become, to what level he’ll sink. Again, though, I have to say Delarue isn’t someone I could predict. There’s a moment, just before the half-hour mark (so much intensity so early), where you’ll understand exactly what I mean: I saw parts of it coming, but how he ends this confrontation is spectacularly harsh, and I couldn’t have imagined he was so cold. Not only is Delarue a bad, low man, he does have a tough presence, one of both physical and mental strength. It all sets the stage for an excellent showdown coming between Mikkelsen’s Jon Jensen and Morgan’s Henry Delarue.
Apart from the acting, Levring’s direction is what makes this film so special. Cinematographer Jens Schlosser provides us with lush visuals, from the wide open plains of the old West to the tighter, more personal scenes involving the characters and the well written dialogue of this screenplay. Schlosser has worked with Levring before on Fear Me Not, as well as served as Director of Photography on Amy Berg’s excellent/heartbreaking documentary Deliver Us from Evil (see it: an important piece of work). I find this one of the most visually exciting Western movies in recent times. John Hillcoat’s The Proposition is another amazing to look at Western from the last decade, though, that one has a gritty, more rough aesthetic. Regardless, I think this movie’s visual beauty has much to do with the emotional intensity and darkness of the subject matter/the performances. There’s a perfect contrast between how pretty the movie is and how devastating its plot and story are, it is a masterful bit of work from every angle.
Once more, I mention the script. So many revenge films are the same, just as Westerns often end up seeming after you’ve seen a ton. While The Salvation is typical in certain senses (rape-revenge setup), there are many ways in which it is not. For instance, like I mentioned earlier in my review, Levring doesn’t go and show everything full-on. Yes, much of the violence is pretty well spelled out in front of us. But I think the early bits, the rape of Jon’s wife, the murder of his boy, they were handled very well. I was very much expecting us to have to actually see Paul/Voichek humping Jon’s poor wife. Though, instead we get to see most of the after effects. This movie doesn’t glorify sexual violence, even if rape is at its core as a plot device/element. The effects and the revenge are the main point, that’s why everything brutal and nastily violent comes so early; literally, the first twenty minutes gets almost all of it out of the way, in terms of the injustice done to Jon’s family. We get lots of violent stuff after this point. Simply, it’s notable how Levring/Jensen go a different route than most would in this case. They still stick very much to the rape-revenge model, they’re just not relying on all its tropes and cliched moves to make things work. Furthermore, setting this is all in the context of Danish settler in America v. “born n’ bred” Americans is an interesting aspect, which you’re not always going to see except in a few other choice films of the genre. All in all, I’m amazed with the screenplay because I found myself unsure exactly of how things were heading to play out. Best part of the plot and story of The Salvation is how subversive it came across at times.
With a big Wild West showdown near the end that can rival some of the best, The Salvation is most definitely a 5 star film. It has guts, plus brains. Even better, the directing from Kristian Levring downplays the usual focus on the rape in order to get to the revenge. Instead, he opts to show us the savagery of the revenge at the other end on top of the heightened emotions from all the characters involved. And at times you’ll find yourself wondering exactly what is about to happen next. With the stellar performance of Mads Mikkelsen in the lead role, alongside Jeffrey Dean Morgan, Eva Green and Mikael Persbrandt in awesome roles respectively, this is a Western you can’t afford to miss. It has all the greatness of any other revenge-thriller, the heart and soul of a perfect drama. Not to mention it’s one of the best Westerns of the last two decades.
Will, Hannibal, and the Great Red Dragon come face to face.
We finally see the confrontation between Jack Crawford and Hannibal Lecter teased at the beginning of Season 2
Mason Verger finally gets what's coming to him
Mason takes drastic measures to ensure the Verger family remains the way it should
Will and Hannibal share a special meal together
DISCLAIMER: THIS IS SPOILER FILLED! TURN BACK OR BE FOREVER SPOILED.
Will: “I look at my wife and I see her dead. And I see Mrs Leeds and Mrs Jacobi lying where Molly should be.”
Bedelia: “Do you see yourself killing her?”
Will: “Yes. Over and over.”
An excellent opening scene between Will Graham (Hugh Dancy) and Bedelia Du Maurier (Gillian Anderson). Finally, we’re seeing Graham come around to what has been happening between himself and Hannibal. The repartee between Will and Bedelia is something to behold. Two excellent actors giving it their all, always. Anderson is enormously talented and I think Dr. Du Maurier has been a significant and excellent addition to Hannibal, which gives more depth to Lecter, and is also proving to add further depth to Will. In these last two episodes, we’re going to see all the full effects of the Hannibal-Will relationship come together in front of us. At least that’s how I think it will play out. Because Will was blind but now he can see, the blinders are slipping from his eyes and all is revealed. He has long ago since discovered the true nature of Dr. Lecter. What he has yet to see the entirety of is the way in which Hannibal has made him into a different person. He saw the immediate effects, now he’s coming to discover there’s much more beneath the surface.
Will: “Is Hannibal in love with me?”
Bedelia: “Could he daily feel a stab of hunger for you and find nourishment at the very sight of you? Yes. But do you ache for him?”
An excellently tense scene with Hannibal Lecter (Mads Mikkelsen) and Jack Crawford (Laurence Fishburne). There’s no clear reason why Jack is there, other than he wants more information out of Hannibal. Meanwhile, Dr. Lecter sees fit mostly to taunt his former dinner companion. A lot of talk about the Great Red Dragon, the Lamb, God. Very good stuff and I like that we’re still getting scenes between these two. While the focus of the series is obviously the Hannibal-Will dynamic, we can’t forget the history and intensity flowing between Hannibal and Jack. They were quite close, right from the beginning. So much has happened between these men, there can only be an ending of massive proportions coming.
Hannibal: “The seals are being opened, Jack. The lamb is becoming a lion.”
Jack, Hannibal, and somewhat Alana Bloom (Caroline Dhavernas), are hatching a plan in order to lure and catch Francis Dolarhyde (Richard Armitage) – who is going PROPER INSANE as the claws of the Dragon come out and tear at his skin, at the painting, looking to get out.
At the same time, Dr. Frederick Chilton (Raúl Esparza) is more than pissed off with Lecter. Their professional lives are jamming up against one another, the former doing all he can to mess up Chilton’s reputation. We can get the sense Hannibal is ready for another round of murder, as Frederick yells and rants – quite rude, no? We’ll see.
Hannibal: “Fate has a habit of not letting us choose our own endings, Frederick.”
Getting a scene straight out of Michael Mann’s Manhunter, and of course Red Dragon by Thomas Harris, we watch as Freddie Lounds (Lara Jean Chorostecki) is recruited to do a piece featuring Chilton and Graham. As Chilton comes up with things to taunt Dolarhyde out of the shadows, Graham aggravates them and makes them nastier by using words like pervert and impotent and ugly, all in an effort to make the Dragon angry enough to be lured into a trap. This is where we’re seeing shades of Hannibal in Will Graham.
When Will puts his hand on the shoulder of Chilton, it is a turning point. Mr. Graham has ultimately become bottom barrel desperate. Everything is pushing him – he sees the dead eyes of the women around him, Molly (Nina Arianda), Alana, bloody and stuffed with shards of glass. His world is falling down around him again, he does not want to go plunging further down the rabbit hole like he last went under the drive of Dr. Lecter. I think now, Will would do absolutely anything in order to get away from it all.
Bedelia comments on this later saying “the touch of others makes us who we are“. Will calls it a plea of authenticity. Unfortunately, Dr. Du Maurier digs deeper wondering if Will did so on purpose, perhaps wanting to put Chilton in the Dragon’s way. What we’re watching is Will becoming slightly too much like Lecter – he did this all in curiosity. Like Bedelia says: “That’s participation. Hannibal Lecter does have agency in the world. He has you.” An interesting turn earlier when Will said the same thing, minus the last bit. We’re officially watching the evil of Hannibal come to bear on Will Graham, big time. Possibly the worst it ever has. Even in a prison cell, Lecter will always affect Will deeply.
Big time Red Dragon/Manhunter feel here in this episode.
Poor Chilton – switched from the source material where it was Lounds in this predicament – finds himself taken, kidnapped by Francis Dolarhyde.
This scene went incredibly well. Not only is the acting incredible, the mood and atmosphere – as is usual for the series – feels so dark and ominous. Some people hate that Chilton and Lounds have been switched out. However, where Chilton was made a bigger character in the Bryan Fuller adaptation, I think it’s appropriate there’s a changed adaptation for this part. Lounds has served her own purpose. Chilton needs to get what is coming to him – he lead Abel Gideon into believing he was the Chesapeake Ripper, he didn’t divulge everything he knew about Dr. Lecter and his love of the unorthodox, and so on. I mean, I LOVE THE CHARACTER!
I think Fuller and Co. have done a great job taking the character and fleshing him out, but I love where it has ended up. I don’t worry that him and Lounds have been swapped, I found it incredible. Plus, every incarnation of Chilton is such a snivelling little bastard, I’d almost expect Lara Jean Chorostecki’s version of Freddie Lounds to be a tough woman; not that she wouldn’t scream once the Dragon took hold, however, I doubt she’d do much pleading.
Chilton: “I am scared. Man to man, I am scared. It is very hard to concentrate when you are scared.”
Then we see Armitage in fine form. He has a bit of Tom Noonan, a bit of Ralph Fiennes, and every bit of Harris going on. Dolarhyde, his face covered in the stocking-like cap, wears a kimono and sits behind Chilton. His voice feels deeper, changed now. Is he becoming, more and more now? Has his becoming pushed him to the next stage? I think so. We watch as Francis Dolarhyde slowly slips into the darkness. Who/what emerges, pushing itself into the foreground, is the Great Red Dragon. His becoming is nearly complete now.
Richard Armitage is a blessing. I love to see a role that’s already classic to so many film fans/book readers become a fresh, new vision in the arms of an actor. It just goes to show that many of these modern literary characters and villains we come to enjoy and love so much are similar to stage characters – just as actors, like Armitage and many others who have graced the stage before and continue to do so, play the characters of Shakespeare over and over yet actors bring new things to the role, nowadays actors on television and film can do the same. We have people like Hannibal Lecter, Francis Dolarhyde, and so many more (I won’t go on with all the great literary characters brought to life in film/television – you know there are tons). Here, we get to see Armitage bring that type of sensibility to the small screen. That’s a huge reason of why I love Hannibal, we get highly gifted actors like Armitage, Mikkelsen, and Dancy tackling these well-known characters and giving them new life.
Having Reba McClane (Rutina Wesley) show up during the middle of Francis beginning to terrorize Chilton was a nice touch. That part of him grabs hold for a moment. In the end, it’s too late. There is no hope any more for Reba to bring Francis back from the edge. Like I said before, the Dragon has snatched him up completely and there’s no letting go. His becoming has moved past the point of no return.
There is a viciousness present in “The Number of the Beast is 666” which I feel hasn’t come across so present ever before. While a ton of macabre visuals and situations have struck us, in many an episode, there’s something so brutal about the scenes involving Chilton and Dolarhyde. When Francis becomes the Dragon and lurches towards Chilton, I knew what was coming, I just didn’t see it coming so savage! This was downright gory. But it’s the whole build-up towards this which makes it feel so nasty.
The makeup effects here were out of this world. Seeing Frederick Chilton scream in pain, his mouth basically gone, only teeth and meat left… what horrific joy.
Francis: “I am the Dragon and you call me insane. Before me, you are a slug in the sun. You are privy to a great becoming. You recognize nothing.”
MADNESS! HANNIBAL ATE ONE OF THE LIPS!
The editing on this show truly helped this moment. As Jack asks “Where’s the other one?”, we see such a quick cut to Hannibal – before Alana or anyone could get into the cell and snatch up his newly delivered mail – and he greedily slurps down one of Dr. Chilton’s bitten off lips. I could not believe it. The obviousness of it might be there, I just never saw it coming. Especially how they didn’t show it immediately. Another reason I love the visual storytelling of Hannibal because it likes to stutter step and give things up at intervals, even if they’re quick ones. It’s a great technique, which has paid off over and over for the series.
This is the first time we’ve seen him consume uncooked human meat, in its pure form. Undeniably and unbelievably chilling, I couldn’t get it out of my mind. The dark look, always taunting, on Lecter’s face. Probably my favourite moment EVER on the series.
After the video of Chilton reading the Dragon’s words, then having his lips chewed off bloodily, Graham gets worse. Even more so once Chilton turns up – set on fire and wheeled down a park lane into a fountain. He goes to see the unfortunate doctor, whose entire body is burned and his face mangled. AMAZING MAKEUP EFFECTS AGAIN! Brutal and well-done.
Frederick knows Will basically set him up for horror during their Lounds interview/the photograph. It’s sad because there is a part of Will which intentionally made that gesture, knowing full well it would draw the ire of the Dragon. So while Chilton’s own hubris and rudeness brought him to his destiny, and many other horrific situations along the way, it ultimately was Graham who did this to him. While Will is the hero in a sense throughout the series, he finally becomes the full-on antihero at this point.
In the source material, Reba McClane is ultimately safe. This adaptation sees Francis Dolarhyde with Reba in his claws much the same as Tom Noonan’s Tooth Fairy had Joan Allen cornered in Manhunter. We’re not sure exactly what might happen – especially as Reba utters the name Tooth Fairy, to which Francis shushes her with a finger to her lips. It’s an extremely tense, suspenseful way to cliffhang this penultimate episode.
While the episode finishes, Francis tells Reba “I am the Dragon“, and his wings open up, spreading about the room and filling the air with darkness. Love the visuals, as always. We get a couple Dragon shots in this one and I love them. Foreboding and creepy.
This episode gave us so much. A ton of impressive makeup effects, a saucy Hannibal the Cannibal getting his first taste of human flesh in about THREE WHOLE YEARS, and most importantly Will Graham has begun to fall apart but at the same time he is coming together and recognizing himself to be more like Lecter than he’d ever cared to admit.
The final episode is upon us, Fannibals. Can we still #SaveHannibal or is it a lost cause? Watching City Tv last night, they called it a Season Finale. Is there hope yet? We shall see. Next week is “The Wrath of the Lamb” directed by series regular Michael Rymer. I’m beyond excited to see this finale.
Stay tuned, my fellow horror hounds, Lecter lovers, Graham groupies, and the all the wonderful Armitage Army who’ve joined us for the Hannibal swan song!
Will must face a man who believes himself to be a beast
Chilton is in hot water when the Chesapeake Ripper decides to target him