One of the screens most delectable villains is back and better than ever, to help bring yet another cinematic miscreant of social de-evolution to justice, in `Red Dragon,' a taut suspense/thriller directed by Brett Ratner, featuring an all star cast that includes Anthony Hopkins once again reprising his role of Dr. `Hannibal the Cannibal' Lecter. Those who have seen `Silence of the Lambs' and/or `Hannibal' will know what to expect here (and will not be disappointed); the uninitiated, however, should be forewarned, as this film will take you into the darkest recesses of the human psyche, and afterwards will not allow you to go gently into that dark night that waits beyond the secure confines of the theater or the safety (?) of your own front door. Indeed, this is one that will be with you for some time, so be prepared.
In the Deep South, two entire families have been ritualistically slaughtered, and though they are located hundreds of miles from one another, there are similarities that lead the F.B.I. to believe they are connected. The killings occurred nearly a month apart, each during the full moon, and though agents have sifted through the crime scenes with a fine-toothed comb, they've come up empty. They are looking, but not `seeing' anything. And they're running out of time; it's three weeks until the next full moon, when they believe the killer will strike again.
This leads Jack Crawford (Harvey Keitel), the agent heading up the investigation, to call in former agent Will Graham (Edward Norton), the profiling specialist who captured Lecter, to take a look at the crimes and offer any suggestions he may have. But Graham quickly realizes that to solve a case of this magnitude, and quickly, it will necessitate getting into the killer's mind; and as time is of the essence, it leads him to seek the assistance of his old nemesis, Hannibal Lecter. And so, with no time to spare, the games begin.
And into the mind of the killer is exactly where director Ratner takes you, and he does it on a number of levels that range from the subtle and implied, to the undiscriminating. Working from a tightly written, intelligent screenplay by Ted Tally (from the novel by Thomas Harris), Ratner finesses the horror at the heart of the story to the surface, initially offering only glimpses, visually, of the heinous crimes. Instead, he plants and builds a picture of what happened in your imagination, routing the information through Graham's investigation, so that you know, at first, only what he knows; then, with Lecter's assistance, along with Graham you begin to get an idea of the man behind the madness as his portrait emerges.
But Ratner soon transcends the usual parameters of the genre, as he makes you privy to the madman himself, Francis Dolarhyde (Ralph Fiennes), whom the F.B.I. has dubbed the `Tooth Fairy,' in reference to one of the more obvious peccadilloes displayed during the manifestations of his insanity. It is here that Ratner objectively explores the possible cause and effect of Dolarhyde's demented mind by proffering glimpses into his past, but without suggesting it as an excuse for his actions in any way. Ratner, in fact, must be acknowledged for his careful and effective handling of this material, which had to be a challenge for the director who previously gave us the lighter `Rush Hour' and `Rush Hour 2,' as well as the insightful `The Family Man.' In this film Ratner covers all the bases, and he covers them quite well, with an imaginative presentation that incorporates a concise understanding of human nature and the human condition.
Ratner, of course, had a cast that would be any director's dream with which to bring his story to life, beginning with Hopkins, who eases back into Lecter's skin seemingly without effort, as if he'd never left (Hmmmm. Will anyone who knows the REAL Anthony Hopkins please step forward, to perhaps shed some light on this?). And in visiting with Dr. Lecter again, it's easy to understand why Hopkins was awarded the Oscar for his initial portrayal of Hannibal in `The Silence of the Lambs.' He conveys a natural eeriness in his countenance, and in the coldness of his eyes there is more menace than any deranged mask-wearing villain with a chainsaw could ever hope for.
Edward Norton, meanwhile, provides the perfect counterpoint to the abhorrent Lecter/Dolarhyde personas, with a subtle and understated performance that is so inherently honest and convincing that the credibility of the entire film is established by his character alone. There is a precision in the unfettered nuance of his portrayal that few actors have the talent or ability to achieve. His strength is in his reserve, and Norton's intuitive presentation of Graham lends the character a ring of absolute truth. Ironically, the meticulousness of Norton's performance will probably deny him the acclaim he so richly deserves for it; in a kind of catch-22, he is SO good, and his portrayal is structured so economically and efficiently, that it will be perceived as too easy and natural. Yet it is precisely when the actor does not appear to be `acting' that he is decidedly at his best. And Norton certainly is here.
With the exception of his Amon Goeth in `Schindler's List,' the role of Dolarhyde is something of a departure for Fiennes, who usually gravitates toward more romantic, or at least amiable (if often moody or complex) characters, and he takes on his character with relish. He gives a strong, solid performance through which he manages to evoke empathy without any accompanying undue or misplaced sympathy. He successfully conveys the definitive disfigurement of the character-- that which lies within, beneath Dolarhyde's obvious physical deformity-- and therein lies the true strength of his portrayal.
Also turning in performances of note are Emily Watson, as the vulnerable Reba; Mary-Louise Parker (Molly); and Philip Seymour Hoffman (Freddy), all of whom add to the considerable impact and overall success of `Red Dragon.' 10/10.
In the Deep South, two entire families have been ritualistically slaughtered, and though they are located hundreds of miles from one another, there are similarities that lead the F.B.I. to believe they are connected. The killings occurred nearly a month apart, each during the full moon, and though agents have sifted through the crime scenes with a fine-toothed comb, they've come up empty. They are looking, but not `seeing' anything. And they're running out of time; it's three weeks until the next full moon, when they believe the killer will strike again.
This leads Jack Crawford (Harvey Keitel), the agent heading up the investigation, to call in former agent Will Graham (Edward Norton), the profiling specialist who captured Lecter, to take a look at the crimes and offer any suggestions he may have. But Graham quickly realizes that to solve a case of this magnitude, and quickly, it will necessitate getting into the killer's mind; and as time is of the essence, it leads him to seek the assistance of his old nemesis, Hannibal Lecter. And so, with no time to spare, the games begin.
And into the mind of the killer is exactly where director Ratner takes you, and he does it on a number of levels that range from the subtle and implied, to the undiscriminating. Working from a tightly written, intelligent screenplay by Ted Tally (from the novel by Thomas Harris), Ratner finesses the horror at the heart of the story to the surface, initially offering only glimpses, visually, of the heinous crimes. Instead, he plants and builds a picture of what happened in your imagination, routing the information through Graham's investigation, so that you know, at first, only what he knows; then, with Lecter's assistance, along with Graham you begin to get an idea of the man behind the madness as his portrait emerges.
But Ratner soon transcends the usual parameters of the genre, as he makes you privy to the madman himself, Francis Dolarhyde (Ralph Fiennes), whom the F.B.I. has dubbed the `Tooth Fairy,' in reference to one of the more obvious peccadilloes displayed during the manifestations of his insanity. It is here that Ratner objectively explores the possible cause and effect of Dolarhyde's demented mind by proffering glimpses into his past, but without suggesting it as an excuse for his actions in any way. Ratner, in fact, must be acknowledged for his careful and effective handling of this material, which had to be a challenge for the director who previously gave us the lighter `Rush Hour' and `Rush Hour 2,' as well as the insightful `The Family Man.' In this film Ratner covers all the bases, and he covers them quite well, with an imaginative presentation that incorporates a concise understanding of human nature and the human condition.
Ratner, of course, had a cast that would be any director's dream with which to bring his story to life, beginning with Hopkins, who eases back into Lecter's skin seemingly without effort, as if he'd never left (Hmmmm. Will anyone who knows the REAL Anthony Hopkins please step forward, to perhaps shed some light on this?). And in visiting with Dr. Lecter again, it's easy to understand why Hopkins was awarded the Oscar for his initial portrayal of Hannibal in `The Silence of the Lambs.' He conveys a natural eeriness in his countenance, and in the coldness of his eyes there is more menace than any deranged mask-wearing villain with a chainsaw could ever hope for.
Edward Norton, meanwhile, provides the perfect counterpoint to the abhorrent Lecter/Dolarhyde personas, with a subtle and understated performance that is so inherently honest and convincing that the credibility of the entire film is established by his character alone. There is a precision in the unfettered nuance of his portrayal that few actors have the talent or ability to achieve. His strength is in his reserve, and Norton's intuitive presentation of Graham lends the character a ring of absolute truth. Ironically, the meticulousness of Norton's performance will probably deny him the acclaim he so richly deserves for it; in a kind of catch-22, he is SO good, and his portrayal is structured so economically and efficiently, that it will be perceived as too easy and natural. Yet it is precisely when the actor does not appear to be `acting' that he is decidedly at his best. And Norton certainly is here.
With the exception of his Amon Goeth in `Schindler's List,' the role of Dolarhyde is something of a departure for Fiennes, who usually gravitates toward more romantic, or at least amiable (if often moody or complex) characters, and he takes on his character with relish. He gives a strong, solid performance through which he manages to evoke empathy without any accompanying undue or misplaced sympathy. He successfully conveys the definitive disfigurement of the character-- that which lies within, beneath Dolarhyde's obvious physical deformity-- and therein lies the true strength of his portrayal.
Also turning in performances of note are Emily Watson, as the vulnerable Reba; Mary-Louise Parker (Molly); and Philip Seymour Hoffman (Freddy), all of whom add to the considerable impact and overall success of `Red Dragon.' 10/10.