Alec Nevala-Lee

Thoughts on art, creativity, and the writing life.

Hannibal uncaged

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Mads Mikkelsen on Hannibal

It’s fair to say that I’ve spent more time discussing discussing Hannibal Lecter here than any other character in literature. This is a blog about writing, after all, and Lecter’s example is as good as case studies get, since it serves as both a model and a cautionary tale. The man we meet in The Silence of the Lambs, and to a lesser extent Red Dragon, is arguably the most compelling character to come out of the popular fiction of the last thirty years. Barely a decade elapsed before his most memorable cinematic appearance topped the list of AFI’s heroes and villains, which is astonishing for a role with less than twenty minutes of screen time. At his best, Thomas Harris is a suspense novelist of stunning intelligence and resourcefulness, and he’s written three novels that absolutely deserve to be ranked among the finest in the genre, as well as a flawed fourth book full of remarkable moments—although the fifth is best left unmentioned. But to a large extent, his reputation rests entirely on the creation of one character, and it’s defined his career to a degree that I don’t think he ever expected.

Of course, Harris himself was finally unable to keep Lecter under control, and if his prolonged silence is any indication, it seems that he’s gathering his energies for something else. This is all speculation, of course; Harris is notoriously private, and he’s never been anything but a slow, painstaking writer. But he’s also a man who wrote Hannibal Rising largely to avoid seeing his character fall into other hands, and I believe he’s intelligent enough to sense that the result is by far his weakest book. Hence the surprise of Hannibal, the NBC series that invents entirely new backstories for many of Harris’s most famous characters, all without the author’s involvement. I can’t say for sure what inspired Harris to relinquish control, and for all I know, there could be complicated rights issues involved. But  I’d like to believe that Harris recognizes that he’s already sucked this particular vein dry, and is ready, at last, to move on. I’ve said before that an entirely new suspense novel from Harris would be the literary event of the year, possibly the decade, and I still hold out hope that we’ll see it.

Hugh Dancy on Hannibal

As for Hannibal itself, I’m not sure how I feel. I watched the premiere last week, and plan to tune in again tonight, if only to catch a welcome glimpse of Gillian Anderson. It’s a well-crafted show, and there’s a lot of talent on both sides of the camera, but it also sets problems for itself that it may not be able to solve. Back when Red Dragon was first published, the figure of Will Graham, a profiler who willed himself into crime scenes to the point where he saw them play out through the killer’s eyes, may have been novel, but by now, we’ve seen variations on this character so many times that we’re already tuning out, no matter how hard the show works to make his the result visually exciting. Even more problematic is the casting of Mads Mikkelsen as Lecter. Mikkelsen is a fine actor, but his cold eyes and angular face make it hard for him to convey the character’s supposed charm, much less pass himself off as one of the leading lights of Baltimore society. He all but advertises that he’s the bad guy, which will only make his relationship with Graham increasingly implausible as the series continues.

But it’s really the premise itself that risks making the show unsustainable. Lecter needs to be in his cell, because he’s much less compelling for what he is than for what he was. His qualities as an epicure, a man of culture, and a social darling are all important facts to establish, but they only gain meaning from their absence: Lecter fascinates us once all these things have been taken away, leaving only a cold, flawless brain behind a pane of bulletproof glass, and what both Hannibal and the novel of the same name demonstrate is that it isn’t especially interesting to watch the old Lecter go about his business. (If Harris’s novel is any indication, he spends most of his time shopping.) If the show runs for long enough, it will eventually end up back where it needs to be, but it doesn’t do itself any favors by starting so far back in the timeline. As Lecter himself might say, a television series ought to start from first principles. And as it stands, it’s going to be a very long time before we see Hannibal back where he belongs.

Written by nevalalee

April 11, 2013 at 9:51 am

2 Responses

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  1. I liked the pilot but also worry about how long the show can be sustained. If it were a UK-type show (limited number of eps, definite end date), I’d be more positive on it. That it airs on NBC is another cause for concern…

    How do you rank the novels? I remember loving one, liking another and then being increasingly disappointed by the turns both Hannibal and Clarice took. The less said about most of the movies, the better. (All the Gary Oldman in the world can not undo all the Brett Ratner that exists.)

    le cul en rows

    April 12, 2013 at 10:30 am

  2. The Silence of the Lambs and Black Sunday are close to perfect. Red Dragon gets a little lost in the killer’s backstory, but everything in the present tense is extraordinary. Hannibal has great moments and set pieces, and there are scenes that I’m always rereading, but I don’t buy the ending, and Lecter occasionally comes off as a kind of super yuppie. And Hannibal Rising doesn’t contain a single interesting moment or idea, and I’ve read it twice.


    April 12, 2013 at 10:50 am

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