In Collection
#152
My Rating:
8
Seen It:
Yes
#152
My Rating:
8
Seen It:
Yes
USA / English
| Jodie Foster | Clarice Starling |
| Anthony Hopkins | Dr. Hannibal Lecter |
| Scott Glenn | Jack Crawford |
| Anthony Heald | Dr. Frederick Chilton |
| Brooke Smith | Catherine Martin |
| Ted Levine | Jame "Buffalo Bill" Gumb |
| Diane Baker | Senator Ruth Martin |
| Kasi Lemmons | Ardelia Mapp |
| Charles Napier | Lt. Boyle |
| Roger Corman | FBI Director Hayden Burke |
| Frankie Faison | Barney Matthews |
| Paul Lazar | Pilcher |
| Dan Butler | Roden |
| Tracey Walter | |
| Jeffrey Lane | Clarice's Father |
| Director | Jonathan Demme |
| Producer | Edward Saxon; Kenneth Utt; Ron Bozman; Gary Goetzman; Grace Blake; Ronald M. Bozman |
| Writer | Thomas Harris; Ted Tally |
| Cinematography | Tak Fujimoto |
| Musician | Howard Shore |
Based on Thomas Harris's novel, this terrifying film by Jonathan Demme really only contains a couple of genuinely shocking moments (one involving an autopsy, the other a prison break). The rest of the film is a splatter-free visual and psychological descent into the hell of madness, redeemed astonishingly by an unlikely connection between a monster and a haunted young woman. Anthony Hopkins is extraordinary as the cannibalistic psychiatrist Dr. Hannibal Lecter, virtually entombed in a subterranean prison for the criminally insane. At the behest of the FBI, agent-in-training Clarice Starling (Jodie Foster) approaches Lecter, requesting his insights into the identity and methods of a serial killer named Buffalo Bill (Ted Levine). In exchange, Lecter demands the right to penetrate Starling's most painful memories, creating a bizarre but palpable intimacy that liberates them both under separate but equally horrific circumstances. Demme, a filmmaker with a uniquely populist vision (Melvin and Howard, Something Wild), also spent his early years making pulp for Roger Corman (Caged Heat), and he hasn't forgotten the significance of tone, atmosphere, and the unsettling nature of a crudely effective close-up. Much of the film, in fact, consists of actors staring straight into the camera (usually from Clarice's point of view), making every bridge between one set of eyes to another seem terribly dangerous. --Tom Keogh
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