Tagged Laurence Fishburne

Plato’s Allegory of the Cave a.k.a The Matrix

The Matrix. 1999. Directed & Written by Lana and Lilly Wachowski.
Starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, Gloria Foster, Joe Pantoliano, Marcus Chong, Julian Arahanga, Matt Doran, Belinda McClory, Anthony Ray Parker, Paul Goddard, Robert Taylor, David Aston, & Marc Aden Gray. Warner Bros./Village Roadshow Pictures/Groucho II Film Partnership.
Rated 14A. 136 minutes.
Action/Sci-Fi

★★★★★
POSTER An interest of mine, as well as the minor in my Honours degree, has always been Philosophy. Even the times when I can’t grasp a concept the entire school as a whole is intriguing. There are so many different philosophies, ranging the gamut of Eastern and Western Philosophy, many great thinkers since time immemorial. So what happens when you take the ideas of many philosophies, create an interesting, modern story, then wrap the whole innovative package inside an action film?
Then, you have The Matrix.
Lana and Lilly Wachowski (formerly known as Larry and Andy) wrote one of the most unique, original science fiction-action adventures in cinematic history, let alone of the 1990s. Their ideas concerning various philosophies translated into something which captivated the minds of those willing to think outside the box. No more did a science fiction-actioner flick need to be about a renegade ass kicker taking on bad guys, villainous henchman, terrorists, and so forth. Nor did it have to involve space, as was often the case before this came along. After The Matrix, this changed. Writers became more willing to take chances, at least until remake and sequel fever got too serious. For a while, though, we coasted on the high of the Wachowski genius. No matter how you feel about the sequels, this first film broke new ground, daring to go where no one had ventured, at least not in any significant capacity. The story, the action, every last bit is equal to the portion before it. And not many movies can make their stories so amazing while also doing amazing stunts and action sequences overall. That’s where this movie gains its traction.
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The Oracle is one of the best parts. Her dialogue does so much. She questions cause and effect. Above her kitchen door is KNOW THYSELF in Latin (Temet Nosce), which was supposedly inscribed in The Temple of Apollo at Delphi; this connects to the Delphic Oracle, the Pythia. In relation to Delphi, this iteration of the Oracle follows suit with the fact the Pythia, the one through whom Apollo spoke, needed to be an older woman “of blameless life” it is said.
One of the most obvious allusions in the screenplay as whole is the concept of Plato’s Allegory of the Cave, narrated as usual by that bad motherfucker named Socrates, or as he was known in his break dance circles Socra-deez-nuts.
If you’ve never actually heard of this allegorical story, jump over here, then come back.
So Neo (Keanu Reeves) is essentially one of those people down in the cave. Chained to his life, this imposed reality, he’s left staring at the blank wall. Only here the blank wall is a falsified reality, one that looks and feels alive, real, genuine. But underneath, outside of the cave, is an actual life. One where things have deteriorated. Now, in Plato’s allegory there’s none of the post-apocalyptic storytelling. Only that the truth is beyond the cave, it is out in the light, beyond darkness. So Neo sits watching the fire in the cave, his supposed life and reality and believing the shadows it casts upon the wall are his only truth. Then in comes Morpheus (Laurence Fishburne). He brings the truth. All of a sudden, Neo is in the light. At first, it isn’t easy. Like Plato’s narrating Socrates relays, the people exit the cave, they see the light, and initially the light burns their eyes. Likewise, Neo is served the truth so quickly, so cold, his body reacts physically. This is a great adaptation of Plato into a recognizable, yet smart package.
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Who better to play the blank slate, the tabula rasa that is Neo than Keanu? Honestly, though. I personally love the guy as an actor, he can be compelling at times. But really, his sort of disaffected attitude works in the beginning. He’s able to feel like this almost teenage-like character, one whose adult life hasn’t fully kicked in. Then as the hits keep coming he begins to feel more real, an emotional man that opens up to the truth of the world. Added to that, Reeves can do the action bit. He’s attuned to this kind of role. Best of all in terms of his casting is that he doesn’t even need to do a whole lot of intense dialogue. Not that he can’t, he certainly can. Rather, the Wachowskis needed someone able to convey the innocent qualities of the character then carry the action star part as the plot progressed. They got what they needed.
Then there’s Laurence fucking Fishburne. A treasure, unheralded. Yes, he gets lot of roles. I just don’t think people appreciate his range. He’s done everything from play in a Coppola classic to portray a wild gangster to give us the best performance as Thomas Harris’ Jack Crawford character on screen. Here, he gives us the perfect Morpheus. Nobody else could have done it this way. He has an iconic voice anyway, though it’s all in his presence, the delivery of his lines. It’s in the fact Fishburne makes Morpheus truly feel like this all-knowing, ever knowledgeable, almost ancient-type figure. This is a star role as is, but Fishburne gives it the extra boost needed to lift his dialogue off the page and make it live.
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There’s an equal balance of philosophical musing and action in this film. The innovative bits aren’t solely in the enjoyable screenplay. One massive portion of that is due to the unique action sequences. The Wachowskis single-handedly coined the term Bullet Time, which of course comes out in the iconic sequence where Neo finally discovers what Morpheus meant earlier when implying he wouldn’t have to dodge any bullets, someday, at some point. A solid moment. Before that we’re given a wonderfully bullet laden sequence as Neo and Trinity (Carrie-Anne Moss) enter the building on their way to locate and free a confined Morpheus. This entire series of scenes is amazing, as they go right up to the top of the building. That’s where Neo first dodges bullets, almost all succesfully. It’s not until later in a hallway facing the agents that Neo realizes he can literally stop bullets with just his hands. Both of those moments are well executed and intense, particularly the latter as its effectively the climax of the movie, after The One discovers his full potential. But any action fan in their right mind will love this movie for its wild fun. Hundreds of bullets literally drop from the sky when Neo and Trinity go for Morpheus, the agents are tough to beat, and this makes for exciting scenes. Love when Agent Smith (Hugo Weaving) comes up against Neo, they’re riveting to watch, and the fight choreography is stellar (as were the scenes where Neo trains alongside Morpheus fighting). Instead of watching the typical sort of action, the Wachowskis give us gorgeous stunts, a bit of the odd elements that come along with the agents and The Matrix’s physics, even Neo himself. You can’t be bored watching any of this stuff, bottom line.
For me, The Matrix is an outright masterpiece of modern cinema. Again, it taught people that action, specifically that with a science fiction angle, needn’t always be the same tired formula. Philosophy and action can mix. Brain and brawn find middle ground, a territory where each co-exist in the minds of bold filmmakers. There are a couple solid performances, a plethora of action sequences to boggle your brains, and a satisfying finale that’s ripe to lead into other stories, yet can easily be taken as one standalone film if you want to see it that way. No matter how you cut it The Matrix blew things wide open. A movie right before the turn of the 21st century that I’ll never, ever find far from my mind. It comes along with exciting memories of being 14, hanging with best friends, eating chips and drinking Pepsi, watching movies late into the night and having fun. And that’s part of what movies are all about, good or bad. Fortunately, this is better than good. It is perfect.

Horrific Revelations in Space: Paul W.S. Anderson’s Event Horizon

Event Horizon. 1997. Directed by Paul W.S. Anderson. Screenplay by Philip Eisner.
Starring Laurence Fishburne, Sam Neill, Kathleen Quinlan, Joely Richardson, Richard T. Jones, Jack Noseworthy, Jason Isaacs, and Sean Pertwee. Golar Productions/Impact Pictures/Paramount Pictures.
Rated R. 96 minutes.
Horror/Sci-Fi

★★★★
IllpcThere are some excellent horror films which take place in space. For instance, I’d consider Alien as science fiction, but definitely with a great deal of horror involved. More recently there’s Pandorum, which I enjoy a ton and there are nice horror moments in that one, as well. In the found footage sub-genre, Apollo 18 has lots of creepy sci-fi/horror-ish stuff to offer. Even classics like Mario Bava’s fantastic Planet of the Vampires come into the sci-fi realm crossing with horror.
Of course there’s also terrible stuff like Leprechaun 4: In SpaceJason X, the live-action version of Doom, John Carpenter’s rare misfire Ghosts of Mars, and even worse horror movies crossed with space misdaventures such as the dreadful Inseminoid.
In my opinion, Event Horizon falls in with the former category of science fiction horror. Specifically the stuff taking place in space. Not only is the sci-fi angle of the film incredibly interesting and a lot of fun (I have no idea if any science within is accurate and could care less; it’s a movie), there’s a ton of horror – and I mean a TON! If you can’t get into this film, even a little, then that’s sad because I always look forward to putting this one on if I need to get creeped out… in space.
event-horizonIn 2047, a rescue vessel is sent to a find the Event Horizon spaceship which disappeared seven years ago. Captain Miller (Laurence Fishburne), along with his crew, and designer of the lost ship Dr. William Weir (Sam Neill) are along for the ride. Adjusting to deep space travel, Weir settles in amongst a group who don’t particularly want him there, nor do they want to be there themselves; this rescue mission took them off a scheduled break from time in space. Things get worse once they locate the Event Horizon.
Aboard the lost-now found ship, one of the crew members gets sucked into a portal created by the experimental gravity drive at the heart of the vessel, which comes alive suddenly and on its own. After he comes back, and a shockwave rocks the rescue ship, everyone is forced to board the Event Horizon.
What follows is a descent into madness and the depths of Hell itself far from the safety of Earth, in the dark and lonely confines of space’s outer reaches.
Event Horizon 1Something I noticed in this film was the great prosthetic work. From the first time we see some noticeable prosthetics, as a dead body with significant injury and decay floats into the view of Kathleen Quinlan’s character Peters, I knew the makeup work all around – from the blood and gore stuff to dead bodies and other such elements – would be well executed.
Lots of interesting stuff happening from Duncan Jarman, whose resume includes some of my favourites such as A Midsummer Night’s DreamThe BeachThe HoursThe Last Samurai, Danny Boyle’s SunshineHarry Potter and the Order of the PhoenixValhalla RisingBiutifulHarry Potter and the Deathly Hallows: Part 1/2; if that’s not enough he’s done work on two upcoming films I’m aching to see, In the Heart of the Sea and The Revenant. And he’s but one of the makeup department; plenty others worked their asses off, too.
The special makeup effects are solid. Some genuinely upsetting visceral stuff. Again, poor Peters (Quinlan) gets a big first dose, as she sees her son in a vision while in the Event Horizon’s medical lab – his legs are basically rotting, the flesh beginning to slop off his bones, bloody in patches. Not too long afterwards, Captain Miller (Fishburne) sees his own vision of a man on fire; incredible work on this brief moment.
As Justin (Jack Noseworthy) runs into his predicament with “the dark inside [him]”, the effects kick in with some nice blood and gore. There’s also an awesome shot of Justin’s veins bulging out massively through the skin on his arms, which I found – though brief – very cool.
7mwaa9c-imgur terror-from-beyond-a-list-of-sci-fi-horror-films-set-in-space-source-http-www-themovi-84456Another impressive aspect of Event Horizon is the set design. There’s a constant flow of amazing set pieces making up the spaceship, which helps to add a haunted house style setup to the film. Because essentially that’s what this is – a haunted house horror movie located in space, on a ship in a deep region. The whole of angle of Christian Hell comes into play, as D.J. (Jason Isaacs) decodes the message from the Event Horizon before it went completely dark for seven years. Set design can help a film or kill it; here, it truly elevates the whole aesthetic. Inside the Event Horizon especially, I cannot get enough of its entire design. Very sinister and creepy with this vast sense of isolation in this large corridors and rooms. The gravity drive itself is sort of Hell-ish looking, like something you’d imagine Pinhead might have sitting on his desk at home, at the office. Lots of this type of thing happening, which makes the set design something great and a major element to why I find the creepiness so effective in a lot of scenes.
7VleCGAJSyjnykIAQvoSO1qkyZNI’m not overly impressed with the dialogue in the screenplay, nor am I thrilled by any of the performances that much. Both Laurence Fishburne and Sam Neill are favourites of mine – the former in just about everything, particularly his latest turn in Bryan Fuller’s Hannibal as Jack Crawford; same goes for the latter, Neill is awesome in everything from his portrayal of Dr. Grant in Jurassic Park to his wonderful role in John Carpenter’s In the Mouth of Madness. That being said, even these two aren’t incredible here, no more than you’d expect from anyone else honestly. They’ve definitely put in much better work elsewhere, but they’re not bad here either. Simply, it isn’t the acting which brings me to Event Horizon.
Ultimately, it’s the makeup effects/special effects, the prosthetics work, and so on, which impresses me. Not to mention I do enjoy the screenplay, just not so much the characterization or the performances which came out of it. But I love the story and the plot themselves as a whole. I think one of my only big criticisms here is that I could’ve maybe used another 15 minutes to tack on some bits and pieces to certain characters, such as Captain Miller (Fishburne) and Weir (Neill). They had a bit of time, not near enough. Particularly Weir, as he comes to be even more important to the Event Horizon ship than we’re initially led to believe. If we had another 15 minutes, there could’ve been a bit of extra time dedicated to Weir and helped to flesh things out a little more. My beef is that things feel a bit rushed, like the lead-up to Weir’s involvement with the Event Horizon’s evil side sort of came as an afterthought – I feel like Philip Eisner, the screenwriter, was going with the ship itself doing all the awful stuff then later put Weir in as being the villain eventually. It could’ve worked better, that’s all I’m saying. The way it is in the final product feels slightly contrived; easily fixed by giving the subplot a bit more time to stretch its legs.
weir-jpgAll in all, I’m willing to say, for me, this is a 4 out of 5 star film. I honestly don’t like anything else from Paul W.S. Anderson, except the guilty pleasure I get from his version of Mortal Kombat. So I’m glad to say that I honestly love this movie. There are definitely flaws – I think the writing for Cooper (Richard T. Jones) was absolutely pitiful, which is unfortunate because I think Jones has a ton of charisma and he’s like a slightly younger version of Denzel Washington; underused and under appreciated as an almost “token black guy” role that could have easily been written better.
Aside from that, the makeup effects are out of this world (sorry for that lame unintended space pun), the story and plot are creepy, and there are two good actors (though not at the very top of their games; still good) to give this science fiction horror romp a nice edge. I suggest if you’ve not seen it, do so soon! Great way to quench your thirst for a genuinely well done horror which happens to take place in space. Enjoy, and if you have any sensible, civil comments please feel free to drop them below and we’ll have a chat about this bit of underrated ’90s sci-fi/horror.

Hannibal – Season 3, Episode 10: “…And the Woman Clothed in Sun”

ReddragonNBC’s Hannibal
Season 3, Episode 10: “…And the Woman Clothed in Sun”
Directed by Guillermo Navarro (D.P on Tarantino’s Jackie Brown, Robert Rodriguez’s Desperado, & Guillermo del Toro’s Pacific Rim)
Written by Bryan Fuller & Don Mancini

* For a review of the previous episode, “…And the Woman Clothed With the Sun” – click here
* For a review of the next episode, “…And the Beast from the Sea” – click here
IMG_0482 IMG_0483 IMG_0484 IMG_0485 IMG_0486 IMG_0487This week’s episode, a slight different wording from last week’s episode which corresponds to the William Blake paintings “…And the Woman Clothed in Sun”, begins as Francis Dolarhyde (Richard Armitage) prepares himself.
For what? A conversation over the phone with an understanding ear: Dr. Hannibal Lecter (Mads Mikkelsen).

Being an avid fan, an impressed spectator to the greatness of Hannibal’s crimes, Francis prepares himself. He doesn’t want his speaking voice to affect anything on his way to Lecter. He jacks into an abandoned building’s phone line (pretty sure that is actually Dr. Lecter’s old home/office if I’m not mistaken: look in the background carefully) to get in touch with the naughty doctor; he has on a telephone company uniform and all, SureTalk. This will hopefully quench the thirst of people bitching last week that there’d be no way Francis would’ve gotten through to Lecter. Solved now? IMG_0489Then all of a sudden, we are in Lecter’s Memory Palace it seems. Perfect little evolution to the scene, especially if Dolarhyde is in fact at the old office where Lecter himself once saw patients. He and Francis now sit and talk to one another. Here comes friendship again in Hannibal as an over-arching theme. Hannibal is looking for a friend, as is Francis. While Dolarhyde has certainly come to like Reba McClane (Rutina Wesley), he is still searching for that kindred spirit which understands the part of him that loves to – needs to – kill people.
So again, we’ve got this duality going. Added to the fact Hannibal is mad at Will, like a lover scorned and turned away, there is something dangerous and horrible brewing between these two. Worst part is, Francis Dolarhyde is half in, half out, as he struggles against the Great Red Dragon when he’s with Reba; her humanity brings him back to his own, in a sense. IMG_0490Francis: “I want to be recognized by you
Hannibal: “As John the Baptist recognized the one who came after
Francis: “I want to sit before you as the Dragon sat before 666 and Revelation. I have… things, I would love to show you. Some day if circumstances permit, I would like to meet you… and watch you meld with the strength of the Dragon.
Hannibal: “See how magnificent you are. Did he who made the Lamb make thee?IMG_0492Impressive image as this conversation closes, just as opening credits cut. I actually went “Phewf”. Incredibly powerful and so darkly vibrant looking. Couldn’t get enough of this bit! IMG_0493Now we’re seeing Dr. Bedelia Du Maurier (Gillian Anderson) spinning a web of lies. I suppose it’s no different from Will Graham (Hugh Dancy) and Jack Crawford (Laurence Fishburne) passing the events three years ago off as something they were not. However, I’d argue that Bedelia had a hand in far too much to truly sit by and believe anything else. Regardless there she is, in all her glory, still on top of the world. She reels off tales of Hannibal Lecter and her forced captivity, when she was “swallowed by the beast“, and a whole room of people clap. IMG_0494Will: “Poor Dr. Du Maurier – swallowed whole, suffering inside Hannibal Lecter’s bowels for what must’ve felt like an eternity. You didn’t lose yourself, Bedelia, you just crawled so far up his ass you couldn’t be bothered.
Bedelia: “Hello, Will.
Will: “You hitched your star to a man commonly known as a monster. You’re the Bride of Frankenstein.
Bedelia: “We’ve both been his bride.
Will: “How’d you manage to walk away unscarred? I’m covered in scars.

An impressive exchange between Bedelia and Will. I love the pure sass coming out of Graham, like he’s just chewing on it. Furthermore, we’re getting so much in the way of the relationship between Will and Hannibal; it’s the truest, purest heterosexual male love story of the 21st century this far in. There are some enlightening bits here, especially one of Dr. Du Maurier’s last lines in the scene…

Bedelia: “I was with him behind the veil. You were always on the other side.IMG_0497Perhaps one of my favourite moments of the entire episode is when Francis takes Reba to see the tiger who is under medication for surgery. There’s this part where Reba is touching all the way up to the tiger’s face, the music is so tense and suspenseful as if we might get a crazy dream sequence where Reba gets her hand bitten off, and Francis has this look on his face, he’s almost biting his own hand, then nothing happens and Reba goes on touching the big animal, rubbing its fur. Just shows how much of a fixation Francis has on mouths, teeth, et cetera, he could barely even handle seeing Reba touch an animal’s mouth. So intriguing and also had my heart rate pumping a few times. IMG_0495 IMG_0499 IMG_0498How many times can I say it? Richard Armitage is doing a superb job with the character of Francis Dolarhyde.
I mean, I’m a massive fan of Ralph Fiennes – total nut for the guy’s filmography, but still… I think because of his performance, and plus the ability to play the character in a handful of episodes as opposed to a single two hour film, Armitage has the advantage here.
There’s something about his quiet physicality. It moves me, honestly. Even in the beginning when he’s practicing certain sounds, making sure he can sound appropriate enough to make it through so he can speak to Hannibal, I felt this insanely vulnerable feeling for Dolarhyde. Not that he doesn’t scare me at certain times, but Armitage truly makes me feel bad for the guy.
The other incarnations – both Fiennes and also Tom Noonan – really came across with the insane aspects of the character; they didn’t overdo things, they just played it quite well on that end. With Armitage, I’m impressed by how he brings out that vulnerability and the traumatic past so much better. It’s really something to revel in. So glad he was chosen to play this part because even if someone else could’ve done a decent job, Armitage is making Dolarhyde one of the best villains ever on television. The essence of a sympathetic killer, if there ever was one. IMG_0500 IMG_0501P.S. The love making scene between Francis and Reba went insanely well. I love how those types of scenes in this series come out as these trippy, psychedelic affairs, which keeps up with the whole weird aesthetic Hannibal has going on. IMG_0503 IMG_0504 IMG_0505We’re seeing more and more now that struggle of Dolarhyde against the Great Red Dragon, bursting inside him, calling out from the painting, telling him to kill. Because now, the Dragon wants Reba, it does not need that side of Francis clogging things up. The pain, the sound in Francis’ head returns, but he wants to overpower it. No matter how strong the feeling that he is becoming, Francis clearly does feel something for Reba. IMG_0506Good dose of Thomas Harris’ Red Dragon.
Hannibal is able to dial his way into Dr. Frederick Chilton’s (Raúl Esparza) office. He manages to con his way into getting Will Graham’s home address, the sneaky, dirty doctor.

Will: “If he does end up eating you, Bedelia, you’d have it coming.
I’m truly enjoying the scenes between Hugh Dancy and Gillian Anderson this week. Great episode for them. It’s like a tit-for-tat type of situation, the two of them going back and forth – Will trying to get to the bottom of things, Bedelia toeing the edges as long as she’s permitted. IMG_0507Bedelia: “Do no harm
Will: “And did you?
Bedelia: “I did. Technically.
Will: “You dared to care.
Bedelia: “Not the first time I’ve lost professional objectivity in a matter where Hannibal is concerned.IMG_0509I fucking love this! Zachary Quinto shows up again, finally not as a corpse like when we last saw him in Bedelia’s office. He was the patient she ended up killing in her office, the one whose death Hannibal Lecter, that damned dirty dog, helped to cover up. I think he’s an incredible actor, despite what anyone else wants to say. He has this very gentle, subtle quality that helps to frighten when things become intense.
His turn in American Horror Story: Asylum is one of my favourite characters on television – ever. Great to see him here. Adds to the ever increasing list of awesome guest stars the show has had in its jaw-dropping three seasons. Not only that Quinto is awesome, his character clearly knew how messed up Bedelia and Hannibal both were. Unfortunately for this he had to go.

Bedelia: “My relationship with Hannibal is not as passionate as yours. You are here visiting an old flame. Is your wife aware of how intimately you and Hannibal know each other?
Will: “She’s aware enough
Bedelia: “You couldn’t save Hannibal. Do you think you can save this new one?IMG_0510 IMG_0512The way we learn about Bedelia’s patient, Neal Frank (Zachary Quinto), the one who formerly went to Hannibal, is a great example of why Fuller & Co (this week’s episode is written by him and the most excellent Don Mancini) have done such a fabulous job fleshing the story out in an appropriate way. At least in a way I see as appropriate.
We’ve already seen bits and pieces of this stuff, but now we’re getting the full story, a better look at everything going on. The manner in which Fuller & Co. drop things into the story, little subplots and sidebars, then come back to things later instead of explaining things full-on right away, I think that’s the mark of some excellent storytelling.
Another reason this series is great, and another reason some adaptations are better off on television than necessarily becoming a series of films – I love, love, love the films featuring Hannibal Lecter, there’s just a special place in my fandom of the Thomas Harris novels for this particular version. So much room to move around and play with themes, characters, arcs, and so on.

Also, we come to see how Bedelia is actually more like Hannibal than Will. At the key moment between her and Neal Frank, she does what she does out of pure curiosity. For a moment, I thought it was actually going to be an accident what happened in the end, however, it’s curiosity that drives Bedelia – and drives her hand further down Neal’s throat instead of helping open up his airway. Very interesting. Then it feeds her continuing chat with Will Graham.

Bedelia: “You are not a killer. You are capable of righteous violence because you are compassionate.
Will: “How are you capable?
Bedelia: “Extreme acts of cruelty require a high level of empathy. The next time you have an instinct to help someone, you might consider crushing them instead. It might save you a great deal of trouble.IMG_0514We get more of Will and Hannibal together, working once more in unison towards understanding a killer. Of course, Hannibal has not revealed his call from the Tooth Fairy, Mr. Francis Dolarhyde; though, Lecter does not know the man’s name, only that he is… becoming.
Hannibal certainly didn’t tell Will that he has gotten a home address for the new Graham family. Mostly he is teasing Will; that jealous lover side of him coming out, pissed that Will has decided to have a family, a wife, a child to look after. IMG_0515When Francis Dolarhyde makes his way into the museum, I got giddy. This has always been one of my favourite things out of Red Dragon, particularly because it shows just how beyond deranged Dolarhyde is, I mean, if it wasn’t sickeningly obvious. It has this fascinating quality that speaks to Dolarhyde’s delusions. Further reinforcing the fact he wants to gain control over the hold the Great Red Dragon has over him. Armitage had me just creeped out here, enormously. The teeth come out, he’s sniffing the painting, then starts biting into the thing. IMG_0516 IMG_0517 IMG_0518 IMG_0519BUT WAIT!
WILL GRAHAM. WHAT?
He shows up to see Blake’s painting just as Dolarhyde is chowing down, having himself a nice little snack. I was so blown away by this little moment, the meeting between Graham and Francis – the power of the former comes out as he manhandles Will, literally tossing him like a rag doll, beating him against the elevator’s insides and then throwing him out. IMG_0521 IMG_0522 IMG_0524IMG_0523 IMG_0525What a spectacular end to this episode. I cannot wait to see the next one, to the point I’m freaking out here. One of the greatest yet. Puts a wild twist on Harris here, which I think works perfectly.
We’re going to see one odd love triangle between Lecter, Dolarhyde, and Graham play out. Especially once the bad doctor drops Will Graham’s address to the Tooth Fairy.

Soon, my fellow Fannibals…. soon. The next episode is “And the Beast from the Sea” – so stay tuned with me!

Hannibal – Season 3, Episode 9: “…And the Woman Clothed with the Sun”

Screen Shot 2015-07-31 at 3.19.25 AMNBC’s Hannibal
Season 3, Episode 9: “…And the Woman Clothed with the Sun”
Directed by John Dahl (RoundersJoy RideBreaking BadDexter)
Written by Bryan Fuller/Steve Lightfoot/Helen Shang/Jeff Vlaming

* For a review of the previous episode, “The Great Red Dragon” – click here
* For a review of the next episode, “…And the Woman Clothed in Sun” – click here
Screen Shot 2015-07-31 at 3.23.30 AMWill Graham (Hugh Dancy) has become distanced from Dr. Lecter (Mads Mikkelsen) since three years ago, when they were still sickly close to one another, tit for tatting with arterial spray all over the place. Now they’re no longer on a first name basis, as Will seems to completely refuse calling him by name – always doctor, or Dr. Lecter. Evidence of Will truly wanting to have a life separate from their odd connection that once was, and still is – deep, beneath the skin, down in the heart. As always, Hannibal mines for details trying hard to uncover all he can about Will’s personal life: his new life, without Hannibal. It’s intriguing and sad all at once.

We’re served up a flashback from events in the very first season with Hannibal and Abigail Hobbs (Kacey Rohl), as he prepares the crime scene he concocted which framed Will for a time.

Basically we are seeing Hannibal, jealous of Will’s new life/fatherhood, looking back at the closest he’ll ever come to that sort of life – the family life. Abigail became like the child of Hannibal and Will. Hannibal reverts back to moments with Abigail, to both capture that feeling Will has which he is missing out on and also to feel close with Will; like a divorced parent remembering the good times with his child that helps him simultaneously remember the good days with his ex-partner.
You accepted your father. Would it be so difficult to accept me?” Hannibal asks.
I don’t know if it would be smart,” replies Abigail.
We don’t get wiser as we get older, Abigail. But, we do learn to avoid or raise a certain amount of Hell. Depending on which we prefer.
I’ll need to collect some flesh,” says Hannibal. “Not a pound, only a piece.
Screen Shot 2015-07-31 at 3.19.50 AMScreen Shot 2015-07-31 at 3.20.01 AMIncredible exchange here as they play on the phrase of “The King is dead – long live the King“…
Hannibal: “Abigail Hobbs is dead.
Abigail: “Long live Abigail Hobbs.
Screen Shot 2015-07-31 at 3.26.27 AMPoor Will is being reluctantly sucked back into the entirety of his old life, working with the FBI and Jack Crawford (Laurence Fishburne). Also there is Dr. Alana Bloom (Caroline Dhavernas) who has brought a Verger baby into the world herself, a true son of her own with Margot Verger (Katharine Isabelle).
But it’s Will who is in the most danger. Everyone else seems sort of sectioned off and encased in their own new worlds, yet Will is always in that danger, the peril of slipping back into the arms of Hannibal.
Screen Shot 2015-07-31 at 3.26.32 AMHannibal: “This is a very shy boy, Will. I’d love to meet him.
As they work together, Will and Hannibal inhabit the Memory Palace. It goes to show how Will and Hannibal are so intricately linked in their psyches now that the Memory Palace where they go together is something of their simultaneous creation; they are partners, in so many senses of the word. They have rooms in their Memory Palace which are identical, perhaps even meant solely for the two of them and no one else. It’s a great visual representation that doesn’t have to do a big ton of exposition to get the point across.
Furthermore, Hannibal and Will walk around in the crime scene together. A testament to both of their powers to empathize, their twisted minds much alike, and also that connection constantly running strong. It’s as if they hadn’t skipped a beat in those years apart, each living other lives yet yearning to be together in some way.
Screen Shot 2015-07-31 at 3.23.40 AMHave you ever seen blood in the moonlight, Will? It appears quite black.
A great image of Will standing like Francis Dolarhyde (Richard Armitage) did in the previous episode, painted in the black blood of his victims and naked in the moonlight.
Screen Shot 2015-07-31 at 3.23.51 AMBack again is Freddy Lounds (Lara Jean Chorostecki), the awful and immoral tabloid reporter. Snooping around, watching Will Graham. Naughty, naughty. Tsk. How rude, Ms. Lounds!

Will: “You called us Murder Husbands.” – CLASSIC LINE! I fucking loved that.
Screen Shot 2015-07-31 at 3.26.40 AMScreen Shot 2015-07-31 at 3.24.02 AMI like the new dynamic between Dr. Bloom and Dr. Lecter. Very interesting. They’ve crossed so many borders in their relationship. Especially when Alana let him go at Muskrat Farm when she could’ve just as easily let Mason Verger (Joe Anderson) eat him, torture him kill him. So it’s fun to see scenes between them both now. Once lovers, now enemies, at odds with one another. Furthermore, Hannibal is in a different position from before. He is uneasy now because of being trapped in that big cell, that fish tank, that observatory – like some bug, there to be studied. And Alana is there, poking, prodding. We also find out that the reason Lecter has cushy surroundings is due to Alana getting some of that Verger cash from the new male heir she gave birth to along with Margot, so that’s how he has been afforded some luxuries. It’s also a way for Alana to existentially torture him, I suppose.
Screen Shot 2015-07-31 at 3.24.56 AMScreen Shot 2015-07-31 at 3.25.12 AMScreen Shot 2015-07-31 at 3.25.32 AMScreen Shot 2015-07-31 at 3.26.10 AMMore Francis Dolarhyde moments bring us deeper into the psyche of Mr. Tooth Fairy himself. INCREDIBLE MOMENT = as Dolarhyde squirms and groans in his becoming there slithers a dragon’s tail back beyond the projector – amazing little shot thrown in there.
What interests me here is we’re seeing Dolarhyde trying to come to grips with who he is – he does not know, he thinks he’s becoming and he’s undergoing a transformation – meanwhile, Will is trying to get inside this guy’s head. It’s an almost impossible task; surely why Will feels the need to go back to Hannibal. However, it’s still an excellent duality where we’re seeing Will fall apart again, at least slightly, while trying to figure out who this man is: a man who does not even know himself.
There’s some amazing yet brief shots giving bits of insight into the past of Dolarhyde. I’ve included a couple screenshots that show a wonderful scene that goes so quick you can almost miss it. Includes some stuff from the Thomas Harris novel Red Dragon in a real intense, fast moment.
Screen Shot 2015-07-31 at 3.24.26 AMScreen Shot 2015-07-31 at 3.24.33 AMScreen Shot 2015-07-31 at 3.24.45 AMI cannot get enough of Richard Armitage as Dolarhyde. I mean, it’s incredible. His physicality, the way he embodies the character and truly becomes him; it’s the essence of the character. Plus, he has several episodes to flesh out that performance. Perfect actor to have chosen for this role. Armitage rules – I am now a believer!
Screen Shot 2015-07-31 at 3.27.12 AMHere in this episode, “…And the Woman Clothed with the Sun”, Dolarhyde meets his blind love interest. A perfect fit I always thought, for a man who has truly disturbing issues surrounding his own physical appearance. Rutina Wesley plays Reba McClane, previously a role inhabited by both Joan Allen and Emily Watson – so I’m interested to see Wesley’s take on it and see how well she handles it. From what we get to see in this episode, she will do great! She has a nice presence and tons of charisma.
I find the relationship between her and Dolarhyde so ripe for tension. It just fits so perfectly. Incredible adaptation here of Harris’ work. However, the original characters in the Harris novel are just amazing as is; what a writer.
Screen Shot 2015-07-31 at 3.27.18 AMAgain, again – love the visuals!
While the conversation between Will and his wife Molly (Nina Arianda) happens, Will uses his Memory Palace to imagine the two of them on the bed together, sitting, in love. It’s an awesome little use of the imagery we so often get on Hannibal. Plus, a nice scene between Will and his loving wife; she is good for him, even if he’s beginning to tear at the seams of his being. The dreams are starting to reappear, he’s sweating: harkens us back to the first two seasons when he descended into madness and instability.
Screen Shot 2015-07-31 at 3.27.27 AMJack: “We’re all in this stew together, Dr. Lecter.
Such a fitting line for Jack to say. It describes everything so perfectly, almost literally at times as Hannibal has made plenty of stews/other dishes out of people, ones they’ve known, and at the same time they’re all just boiling in one big pot together with their hatreds and their grudges and ill feelings towards one another – Hannibal, Jack, Will, Alana, Bedelia – like a giant circle, swirling in that pot, they all curl around each other. We’re constantly wondering: who’s the next to die, to be eaten, to feel the full length of the horror?
Screen Shot 2015-07-31 at 3.27.40 AMScreen Shot 2015-07-31 at 3.27.48 AMThe end of the episode is excellent. We get another great flashback involving Hannibal and Abigail; right after Will called Hannibal in the Season Two finale. There’s lots of good things here, giving us more and more insight into the “sensitive” side, if you will, of Hannibal Lecter; if there truly can be one.
Then of course we see another relationship budding – a new one for Hannibal onto which he can latch (because for all he is Lecter is a parasyte). Francis Dolarhyde reaches him by phone, posing as Lecter’s attorney.

Screen Shot 2015-07-31 at 3.28.04 AMDolarhyde: “The important thing is what I am becoming.
This moment with Hannibal and Francis on the phone at the end is a creepy bit. There’s a duality again between Hannibal and Francis, just as there exists one between Hannibal/Will and Will/Francis. So much going on, like a twisted and scary love triangle of the worst kind.
Gets really tense especially after Lecter asks him what he’s becoming, to which Dolarhyde replies, in an awful tone: “The Great Red Dragon
We’re building more and more to see a huge confrontation between Will and Francis Dolarhyde, ultimately another game initiated by Hannibal. This time, I think it’s also a confused bit of revenge/an attempt at bringing Will Graham back into his world on Hannibal’s part. Either way, there are so many things happening and I can’t wait to see how Dolarhyde is slowly going to go further mad and twist things up.

Stay tuned for next week’s episode, directed by Guillermo Navarro, titled “…And the Woman Clothed in Sun”

I hate that this is cancelled, shame once more NBC! I say it again. Such great horror. I hope this will somehow help mainstream horror television, maybe, maybe not. Wish there was some way to #SaveHannibal – alas, it looks as if it is dead. Hannibal, we hardly knew ye.

Hannibal – Season 3, Episode 7: “Digestivo”

NBC’s Hannibal Season
3, Episode 7:
 “Digestivo
Directed by Adam Kane
Written by Bryan Fuller and Steve Lightfoot

* For a review of the next episode, “The Great Red Dragon” – click here
* For a review of the previous episode, “Dolce” – click here Screen Shot 2015-07-26 at 4.39.28 PMTo start, the episode’s title “Digestivo” comes from another part of the formal Italian meal. The literal meaning is, of course, ‘digestif’, which is an alcoholic drink (sweet or bitter) that is drank after a meal; as you can tell, it is meant to help the digestive process. I think Bryan Fuller and Co. chose this particular name for Episode Seven because this is a transitional episode.
We begin at the precarious position in which Vincenzo Natali left us during “Dolce”, where Jack Crawford (Laurence Fishburne) was forced to watch Hannibal (Mads Mikkelsen) start sawing into Will Graham (Hugh Dancy), right through the forehead. By the end of the episode, we’re miles – literally hundreds of thousands – away from where things started. So, in a way, this episode is the digestif which will help along the process – it helps us to digest the plot and story going forward.

After we pick up, Hannibal is stopped in the midst of his meal preparation (he and Jack were no doubt about to feast on a nice hunk of Will’s grey matter). The new Inspector under Mason Verger’s (Joe Anderson) thumb comes with reinforcements. However, they’re not about to go by the book. They pack up both Hannibal and Will to bring back to Muskrat Farm. Jack is left, along with an officer instructed to “Open him up like he did with the other one.
Fortunately, Chiyo (Tao Okamoto) is still looking out for Hannibal, and in the process saves Jack – in turn, he gives Chiyo the exact location of where Hannibal is being taken. This speeds things up nicely. The digestif has begun to work its magic.
Screen Shot 2015-07-26 at 4.40.56 PMScreen Shot 2015-07-26 at 4.41.34 PMAt the end of “Dolce”, we saw the Hannibal/Will duo hanging upside down like sides of beef, or in this case pork. Mason has had them relocated to Muskrat Farm, where Cordell Doemling (Glenn Fleshler) will begin to ready them for their respective fates.
Hannibal, all smiles, and Will, less smiley, are dressed to the nines and wheeled out to Mason’s beautifully set grand table. There, Hannibal is brought some small appetizers, as Mason remarked earlier (while jabbing his dearly departed father’s pocket blade into Hannibal’s thigh) the naughty doctor was looking “a little lean“; he needed to be fattened up. Meanwhile, it is revealed Cordell will be transplanting Will’s face onto Mason – he will then proceed to eat Dr. Lecter with Will’s face on. Twisted. When Cordell goes to apply some moisturizer to Graham, as he is “looking a little dry“, Will surprisingly takes a nice bite out of Cordell’s face. He spits a hunk of cheek out onto the plate in front of him. There’s certainly lots of fight left in Mr. Graham.

As I said before in one of my previous reviews, I love how Bryan Fuller and Co. have tweaked Mason’s revenge slightly. We got bits of the mandating pigs in Season Two, so I think it’s genius how they decided to make Mason decide on eating Lecter. It works in well with the whole fixation of Mason’s on transubstantiation, the risen Jesus Christ or “The Riz” as Mason so lovingly calls him: for those who don’t know, transubstantiation is the concept in the Roman Catholic Church that by eating the bread and wine at Holy Communion, you are not just figuratively eating the body and blood of Christ, you are literally eating it. The way this plays into Mason’s decision is perfect, as even in the Thomas Harris novel Hannibal he is, while simultaneously a sadistic paedophile, a raving fan of Christianity – mainly Catholicism and how confession can absolve one from their heinous acts. Great work on the adaptation here, once more; I feel I’m wearing that sentence out, but whatever. It’s true. Screen Shot 2015-07-26 at 4.41.52 PMScreen Shot 2015-07-26 at 4.42.10 PMAs Will is mostly just waiting around to have his face removed, sitting at the big table and getting in a chat with his old flame Alana Bloom (Caroline Dhavernas), there are far more torturous plans for Dr. Lecter. Out where the pigs are kept, Cordell (his face patched up) ties Hannibal up in a pen, amongst the hay and the pig shit. He brands Hannibal at the centre of the back; just the same as any other pig. What I find ironic is how Hannibal ate people for being rude, or rather ‘piggish’. Now we find the cannibal stuck exactly in the metaphorical place of his victims – he is now a pig himself. We get another glimpse at how controlled Hannibal is, most of the time, in his mental process. The pain of the brand barely registers; he closes his eyes and wishes it away. Still, all the time he is awaiting his death, Hannibal flashes those smug, defiant smiles. As if he knows something; something nobody else knows, something we will never know. Screen Shot 2015-07-26 at 4.42.39 PMOne thing I really loved about this episode, aside from the obvious intensity and excitement, is how Alana is basically faced with the prospect of watching Will die, horribly, or letting Hannibal go. Though it seems like a quick decision for her, as she comes into the pig pens where Hannibal and Margot Verger (Katharine Isabelle) are having a quiet discussion, I think it’s the earlier scene between Alana and Will which really pushes her to action. Will’s shaming of Alana makes her realize that, though there is no doubt Hannibal deserves whatever he gets, and more, by being complicit with what happens to Hannibal (and in turn Will because of the situation) she is no better than him. There’s a lot of morality flying around, and perhaps Will is not perfect when it comes to morals, but what he says works. The moment Hannibal is let free things start to become more terrifying by the moment. But first, before I discuss the finale of the episode and all it entails, let’s take a step back… Screen Shot 2015-07-26 at 4.43.28 PMScreen Shot 2015-07-26 at 4.43.53 PMThe part of the episode I found most disturbing was the surrogate – the pig. Now, the reason I found this so effectively creepy and unsettling is because of how vicious it shows Mason to be. We knew this anyways, but in the novel Hannibal there is so much more to Mason, as well as Margot, than we end up with in either the film adaptation, or the series. While Mason is fleshed out more here in the series, obviously, as opposed to the film adaptation of Hannibal directed by Ridley Scott, there are aspects we don’t full-on see too much about.
For instance, we only get a small inkling in the Second Season about Mason’s predilections: he is a terribly sick and violent child molester. That’s where the whole “taking the chocolate” thing comes from, as well as the games he played with Margot when she was little. However, Fuller and Co. have certainly stuck with the whole plot of Mason treating Margot like absolute filth.
What I found disturbing about the whole surrogate scene in “Digestivo” is how it takes things up a notch from the book. Harris’ novel has Margot as infertile, as well as a lesbian, but in the series Mason has actually taken out her reproductive parts – he’s literally ripped the ability to give life out of her. So then by further going ahead and planting Margot’s baby (for those who don’t realize it: the baby is that of Margot and Will – notice how big it is? Looks to be about a 9-10 month old infant + the time jump earlier between Will waking up from a coma and his trip to Italy was 8 months… not hard to put together) into a surrogate, a pig, there’s so much malice. It not only represents just utter disregard for Margot and her feelings, her wishes to have a Verger baby, by having the pig as the surrogate Mason is saying that the pig is more worthy to carry a child with a Verger name than Margot – that the pigs are more family and more Verger than Margot.
It is so vicious that it’s perfect. Worked wonders, these scenes. Especially while the baby is being removed/a face is being removed while Will sits strapped into a medical gurney next to Cordell. Disturbing yet incredibly visual. The imagery here was unreal. Screen Shot 2015-07-26 at 4.44.06 PMBIG TIME SPOILERS BEYOND THIS POINT!
In the novel Hannibal, Margot talks with Hannibal, just like in this episode – he offers to be the scapegoat for Mason’s murder, should Margot decide on committing it. Hannibal tells her it wouldn’t matter for another charge to be laid on him, that he will write a letter boasting about enjoying the murder of Mason Verger; he offers some hair, right from the scalp, to lay in Mason’s hands after he is dead.
I like how Alana Bloom is present here, as opposed to it just being Margot in the novel – seeing Alana rip the hair out of Hannibal’s scalp is a perfect, tiny little blow on her part, at least she get some kind of revenge even if it’s not much. Also, in the novel Margot kills her brother by jamming the eel down his throat, as well as milking his prostate with a cattle prod to gather some viable sperm samples to make a true Verger baby later on.
Here, I like that Margot and Alana had a hand in the murder. I also thought it was just perfect that the eel went on in Mason’s mouth by itself, without being shoved down his throat. Sort of shows how everyone/everything around Mason hates him and knows how disgustingly cruel/sadistic he can be deep down – even the eel wanted to be a part of his death. Very fun, highly macabre stuff in this episode! What a scene left at Muskrat Farm. Screen Shot 2015-07-26 at 4.44.24 PMThe end of the episode is what works most wonderfully to me. I won’t spoil how Will is sprung loose, however, Hannibal brings his dear friend back home, lays him in bed. Chiyo and Hannibal have a brief chat outside – Lecter tells her she is stable, on the periodic table of elements “between iron and silver“.
Inside, Lecter tries to take things back to the old days: him in the chair, Will laying back and recounting his darkest thoughts. Unfortunately for Hannibal, his friend does not want the friendship anymore. Will has realized, after all that’s happened, no matter how bad he feels close to Hannibal they are no good together, in any way. Will tells him that he doesn’t want to know where Hannibal is, he won’t look for him, because he does not want to know where he is; he has had enough. Clearly hurt, Hannibal leaves to seemingly vanish. Screen Shot 2015-07-26 at 4.44.42 PMJack Crawford and the FBI show up, but Will says that Lecter is gone. Hannibal willingly surrenders. He gloats in his own way, telling Jack: “You’ve finally caught the Chesapeake Ripper.
Jack replies by saying Hannibal wasn’t caught, he gave himself up. Hauntingly, Dr. Lecter looks at Jack first, then Will and says: “I want you to know exactly where I am. That way, you can always find me.” To hear that – to see Hannibal in this Fuller and Co. adaptation of Thomas Harris giving himself up willingly – is so refreshing. It is the truly disturbed, sick, haunted relationship between Will and Hannibal which drives everything. Will hurt Hannibal by rejecting further friendship and saying he didn’t care where Lecter ended up.
Therefore, Hannibal spited Will by turning himself in, so that the thought of knowing exactly where he’d be, locked in a cell somewhere, would always be with Will. That way, Hannibal ensures he will always be a part of Will’s life.

The most exciting part is the next episode – “The Great Red Dragon” – because there’s a time jump. We go forward, and yet somehow backward (to Harris’ work in a sense). We’ll get to see exactly how haunted Will is when Jack has to pull him back into a murder investigation, and how desperate will it make them: desperate enough to go see Dr. Lecter again?
Stay tuned and check out for Episode Eight’s review!

Hannibal – Season 3, Episode 8: “The Great Red Dragon”


NBC’s Hannibal
Season 3, Episode 8: The Great Red Dragon
Directed by Neil Marshall (Dog SoldiersThe DescentGame of Thrones)
Written by Nick Antosca and Steve Lightfoot

* For a review of the previous episode, “Digestivo” – click here
* For a review of the next epiosde, “..And the Woman Clothed with the Sun” – click here
Screen Shot 2015-07-24 at 3.28.52 AMI want you to know exactly where I am. That way, you can always find me.” The words of Hannibal (Mads Mikkelsen) resonate through Will Graham (Hugh Dancy). He’d only just told the bad doctor how he wished not to know where Hannibal was, so that he couldn’t find him. Now, with Hannibal turning himself over to Jack Crawford (Laurence Fishburne) and the FBI, we turn over to the part of Thomas Harris’ books where the cannibalistic doctor is behind bars, looking at the world around him, as Graham will eventually come to look for his help.
Why would he need Lecter’s help?
Introducing – Francis Dolarhyde (Richard Armitage). We’ve finally come to the Red Dragon storyline in all its glory; that is, the Tooth Fairy has finally arrived. Screen Shot 2015-07-24 at 3.29.31 AMThe introduction to Dolarhyde is unsettling. He almost orgasms while looking at a magazine with William Blake paintings in it (namely The Great Red Dragon and the Woman Clothed in Sun). He works out in excruciating form. He gets tattooed, and Francis even looks for a set of nasty old false teeth; chomp chomp. Then, he bows in his attic in front of a Blake painting, the tattoo of the Great Red Dragon on his back. Quite a creepy opening for this episode.

I think that the end of this season, with all the Tooth Fairy/Francis Dolarhyde business, will go out with a huge bang. There’s so much creepiness happening with Armitage portraying Dolarhyde. This guy is incredible! So much of that character involves the actor being alone, wrestling with his inner self that’s busting out. The visuals that Hannibal as a show has brought really serve the Dolarhyde story well; some excellent shots including shattered glass, the moon. I anticipate the Dolarhyde portion of this season will go off well, episode after episode. Screen Shot 2015-07-24 at 3.30.28 AMNow, Hannibal is in his memory palace. He sits and listens to a young boy sing a hymn, presumably in one of the Italian churches he admires so much. All the while, in reality, Hannibal is cuffed to the floor, chained up wherever he goes, and his DNA samples are being taken. Finally, Hannibal stands in a big cell with clear glass.
BUT WAIT – TIME JUMP! Three years have passed.
Hannibal is having a chat with Alana Bloom (Caroline Dhavernas). He envisions it as another chat in his grand old office. However, he’s behind bars and wearing a jumpsuit. That being said, Hannibal does seem to have garnered a bit of privilege; no doubt he offered information which lead to some sort of deal being struck. He’s able to have a bit of decent food and drink, some books and such.
Congratulations, Hannibal – you’re officially insane,” Alan calmly tells him in a matter-of-fact tone. Even with the perks, he’s still a mad cannibal doctor. Screen Shot 2015-07-24 at 3.30.17 AMSplendid scene between Hannibal and Dr. Frederick Chilton (Raúl Esparza). They eat a dessert which Hannibal once made for him, but with cow’s blood “only in the derogatory sense” he tells Chilton.
What I love about this scene is how Chilton basically taunts Hannibal with the idea of the Tooth Fairy; you can just about feel Hannibal boil with jealousy, wishing he could still be out indulging his violent, nasty little pleasures.

Part of my love for Hannibal as a television show is how Bryan Fuller keeps everything recognizable to readers, yet fresh all the same. There are twists and turns that I understand as a reader/fan of the Harris novels, however, the way Fuller brings them in and twists them in his own right, switching up characters and certain events from the books (as well as their film incarnations); it really works magically. That’s how I feel, anyways. Plus, the visual nature of the show really works with so many of the themes going on. Added to the fact it’s just incredible to watch and look at. I find it so invigorating not to have every single little bit of character/story given up through dialogue. We get so much via visuals that I think it’s part of why NBC cancelled it, and part of why a lot of people seem to trash it. They don’t spoon feed everything to the viewer. Sometimes it may actually benefit for people to have read the books and seen all the movies, more than once even. Because there are bits of character (particularly I think of Mason Verger who was explored but only partly in the series) which come out that aren’t written blatantly for us through the script and dialogue. Screen Shot 2015-07-24 at 3.31.11 AMWill Graham is a ways down the road now, with a wife and a boy he’s adopted as his own. Things seem great, only Jack shows up needing help with the new Tooth Fairy murderer out there killing families under the moon. Graham reluctantly goes along to help, mostly because his wife Molly (Nina Arianda) insists due to the fact he would have done the right thing, and she worries that this man is killing whole families.
If I go, I’ll be different when I get back,” Will tells her.
So we’re seeing a different side to Will now, the part that really began in Harris’ Red Dragon. Will has been scarred by Garrett Jacob Hobbs, he has been scarred even deeper by Hannibal Lecter. Now, as Jack comes knocking, we can see that at least partly, certainly never fully, Will has let go of that side of himself; he has tried to let go of the hold Hannibal had over him. He knows that going back to the what he does best will cause problems, but ultimately also understands he might be the best man to bring down a killer such as the Tooth Fairy.

Our old lives hover in the shadows,” Hannibal writes to Will in a letter. “It’s dark on the other side, and madness is waiting.

Watching Will Graham walk around inside the latest crime scene, courtesy of the Tooth Fairy, is a spectacularly chilling ordeal. It rings very much close to the Michael Mann-directed Manhunter scenes with William Petersen; there’s a raw, subdued quality about Mann’s scenes that I think really come through here. Not only that, Fuller shows us how Will is not coping well with having to go back into this mode of thinking. Before he is able to see the design of this killer, Will almost hyperventilates before going into GrahamVision. It’s a great, disturbing scene.
You can feel Will’s hesitation, his reluctance at having to go back into his own twisted mind to capture the thinking of another, much more violently twisted mind. Fuller knows what he’s doing, and I continue to believe that, despite my fondness for Petersen in Manhunter, there is no doubt in my mind that Hugh Dancy is the ultimate, definitive portrayal of Will Graham. Not only does TV allow for the ability to stretch out the character, really get into the meat of his development, but Graham simply embodies everything I think Graham is about; there’s that loner-ish presence, his nearly autistic spectrum attitude at times, and the PTSD of his work truly comes through, especially at this point in the series.

There’s one amazing moment as Will proclaims “This is my design” where he represents perfectly two symbols from the Harris universe: the wings of the Great Red Dragon and the wings of the blood eagle. Mostly I think it’s intended to be the Red Dragon, but I thought it was also reminiscent of that angel-like look the blood eagle attains; it has that essence of transformation, which the Red Dragon encompassed, as well. Either way – fantastic visual! Screen Shot 2015-07-24 at 3.31.29 AM I find it another great twist on the part of Fuller to have Will Graham suggest to Crawford, instead of the opposite, that it might be best for him to go see Hannibal – “before I’m driven to it through desperation,” Will tells Jack. Not only is it fun to switch things up, this serves a great purpose: we see how addicted to that sick relationship with Lecter he truly is, we see the sickness of Will’s inability to let go by him going back. He doesn’t actually have to, he is capable somehow on his own, but there’s a part of Will that never wanted to let Hannibal out of his life. Good form, Fuller. Good form! Screen Shot 2015-07-24 at 3.32.06 AMThe end of the episode was classic, as we see Will and Hannibal come together, face to face for the first time now in three years. It’s a perfect moment while they greet one another and then cut to black. Neil Marshall – a fantastic director in his own right – does well at the helm of Hannibal‘s latest episode. He goes for some wild visuals, but does not go as deep and out-there as some of the other episodes of the series, and certainly some of the earlier episodes of this freaky new season. I can’t wait to see more now that Armitage is in the mix playing Dolarhyde. Getting really interesting.
I love the duality between Hannibal and Dolarhyde which is being set up. Hannibal has always been the villain, but I think we’re about to see him in a much more evil, malevolent light than ever before. Awesome scene goes from Hannibal collecting clippings about the Tooth Fairy, to Dolarhyde collecting his own scrapbook of Hannibal the Cannibal clippings. Super creepshow stuff! Screen Shot 2015-07-24 at 3.30.58 AMStay tuned, I’ll be back every week reviewing each episode. Next one is titled “…And the Woman Clothed with the Sun”.
For now since this has been sadly cancelled, forge ahead with me as we unfortunately say goodbye TO THE GREATEST SHOW ON TELEVISION RIGHT NOW!