Directed by
Peter Webber
118 minutes
Rated MA
Reviewed by
Sharon Hurst
Hannibal Rising
Synopsis: Lithuania, 1944. The Lecter family is fleeing the approaching Russians, but becomes caught in a bloodbath in which the parents are killed, leaving young Hannibal (Aaron Thomas) to care for his little sister Mischa. Hiding out, the children are discovered by desperate soldiers led by the sadistic Grutas (Rhys Ifans). After witnessing his sister come to a grisly end, Hannibal (now played by Gaspard Ulliel) becomes mute and is taken to a Soviet-run orphanage. After his escape, he tracks down a surviving aunt, Lady Murasaki,(Gong Li) in Paris, becomes accepted as a medical student and begins to track down the men who perpetrated the ghastly deeds.Just when you thought it was safe to again enjoy a good chianti, or maybe a little sauteed liver, along comes another film about Hannibal the Cannibal, the notorious serial killer we love to fear. I had some grave (so to speak) doubts about this one, being a big fan of The Silence Of The Lambs (1991). However, I am happy to report this prequel to be far superior to the 2001 sequel, Hannibal.
This film aims to look at the genesis of the titular protagonist and what has made him the way he is. The nay-sayers reckon we don’t need to know what makes Lecter tick; his mysteriousness and the mere 18 minutes we saw of him in TSOTL are what makes him so fascinating. However as a study of why a person might become a cannibal, albeit one with impeccable manners, fine taste in art, and excellent skills with all sorts of weaponry and surgical implements, this tale managed to almost convince me. And if it didn’t quite, it certainly entertained.
Strong production values are evident from the start. Director PeterWebber and screenwriter Thomas Harris (author of all the books) opt generally for the serious approach, with little self-mockery, a goodly dollop of melodrama and only a smattering of references to things in the earlier films. After a falsely soothing opening with some stunning countryside and idyllic scenes of cute little Mischa in the bathtub with her adoring brother blowing soap bubbles for her, we are thrust into some graphic war scenes, all shot with an almost documentary feel utilising a sepia-bluish palette. By the time the soldiers have left, we are already getting the picture of why Lecter turns out as he does. Interiors are beautifully lit, from the stunning home of Lady Murasaki to the eerie anatomy rooms in which Lecter hones his skills.
Casting Lecter was of course a challenge –who could follow in the footsteps of the great Anthony Hopkins? Ulliel rises admirably to the task, with plenty of charm, mystery, and some maniacal facial expressions. He makes the evolution of his character very plausible as he goes from slightly anti-social deeds, born out of self-preservation, to the fully fledged killer, hell-bent on revenge and with a taste (literally) for blood. Gong Li is suitably alluring as Hannibal’s (very) loving Aunt, while Rhys Ifans is the real deal as the nasty soldier who eats raw birds and is no doubt Lecter’s first role model.
If you’re squeamish I suggest you give Hannibal Rising a wide berth. In the unfortunate tendency of today’s filmmakers, it leaves little to the imagination, but lingers in graphic detail on the blood and gore. Die-hard (so to speak) Lecter fans should enjoy it, especially the delicious final line, which leads us seamlessly into the film where the name Hannibal Lecter became a household one.
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