This sentence can be a ruler, before our brains have enough time to indulge. Before the wonderful story, first measure the full or dry minds, and at the same time provide annotations for the different feelings of different readers. However, the author is not only interested in this slightly sly remark, Stephen is "fear" in his work, not the "justification" of "horror" novels. The kind of indifference and perseverance shown in the "justification" of the novel is more interesting to me. . However, if you want to distinguish between the superiority of the two is really a waste of energy, it is better to take advantage of the convenience of analyzing the film works, and it is unknowable that you will suddenly open up inadvertently!
Hitchcock once said that "the real horror comes from the imagination of the audience rather than what is shown on the screen." "The Silent Lamb" is a dizzying artistic achievement by resolutely adhering to the teachings of the master. Moreover, the film's greater contribution is to open up a path of change for an ancient genre film and achieve a performance wizard Anthony Hopkins. Different from the singularity of similar roles in the past, the ogre image created by Anthony has a unique charm that is breathtaking and mesmerizing.
Whenever a film is managed as a brand, it will inevitably be inevitable to be destructively exploited. What's more, Hannibel has been separated from the film and has become a cultural phenomenon alone. Because of this, the creators' behavior to develop the prequel to the sequel has become justified. It not only conceals the pungent copper smell, but can even be wrapped in a magnificent coat that continues the artistic life.
In the entire ogre series, the story of the "Red Dragon" structure took place the earliest, but the launch time was the latest. Different from "Hannibal", the narrative skills and artistic style pursued by "Red Dragon" are closer to the kind of "attracting but not sending" that "The Silent Lamb" is passionate about. The reason is that, first of all, "Red Dragon", as the forefront of the ogre series, is responsible for leading the development of the entire story, and the spirit of sticking to the original work has somewhat limited the imagination of the creator. Secondly, Brett Ratner learned from the accusations of "Hannibal" that simply expressing sensory horror is actually a trick that does not pay off, and that kind of fear that does not show up but repeats itself is a thriller. The essence of. Therefore, returning to the technique successfully used in "The Silent Lamb" is really a superior choice.
However, not all battles in the right direction will necessarily win. In the same way, a movie with extravagant cast and first-rate creativity may also fall short of the result of improper handling of some extremely inconspicuous details. Contrary to the "indulgence" of "Hannibal", "Red Dragon" seems to be bound by too many rules, making many originally inspired sections awkward and constraining the development of the story. In the end, the atmosphere of fear that had accumulated with great difficulty drifted away slowly.
In the original novel, Professor Hannibal is shown as a sideline, whose role in the whole story is to thread the needle. The film's true and accurate reproduction of the author's intentions can be said to be justified. But this seems to be the least problematic place, but it is difficult to kill the film's creators. Because "Red Dragon" has an excellent "post-biography", Professor Hannibal, who was originally an assistant accountant, was able to "enter the room" and became the most unshakable soul figure in the full set of ogre films. How to give Professor Hannibal enough room for expression to satisfy the audience's preferences, while avoiding the main line of the story from falling into an embarrassing taste, is almost an unsolvable problem. The director's gaze from the left and right in the film provides a rather modest answer to this proposition.
"Red Dragon" uses the arrest of Professor Hannibal as the background to lead the story. The two protagonists completed the first screen "diagonal" in less than three minutes. This is undoubtedly a very "comprehensive" technique, because the advancement of the main body of the story cannot take too long to render the thrill of the pursuit. Therefore, the suspense that could have been created was completely ruined by the character's rush into battle. Not only that, because the protagonists met prematurely, indirectly caused the prison scene that the director painstakingly created in the second half of the film lost enough dramatic tension and became boring. It can be said that this is a mixed start.
The main part of the story unfolds with the hunt for a perverted fanatic nicknamed "Tooth Fairy". In order to get rid of the embarrassment, Police Officer Will had to consult Professor Hannibal who was behind bars several times. The opposing scenes of the two enemies should have been the best part of the film. But in fact, it only cloned the skin of "The Silent Lamb", and couldn't touch its essence at all. The straightforward opening of the film "finally" shows the value of "uncommon" here. Because of the loss of suspense, the atmosphere of the director's desperate arrangement seems quite funny. It can be seen that the director made a tribute-style plagiarism of "The Silent Lambs" here. The advancing of the picture in the shot, the eloquent words between the characters and the sharp dialogue, and even the arrangement of props and the sound effect processing are all in a surprisingly consistent manner with "The Silent Lamb". But no matter how hard you try, "Red Dragon" can't replicate the suffocating atmosphere of "The Silent Lamb", but it creates an embarrassing effect of "the bridal chamber does not fall into red".
The most fundamental reason is that there is a big difference in the ability of the two works to engage story clues. Although they all use the same kind of packaging "in agreement", this is not enough to conceal the difference in artistic level between the two. The main line of "The Silent Lamb" is also a story of hunting and saving, but it can be closely attached to the side line of Hannibel. The two are inseparable and inseparable. The relationship between Clarice and Hannibal is far more complicated than Will and contains a psychedelic ambiguity, while the latter and the ogre have only hatred and resentment. The lack of direct heart-to-heart communication and tacit understanding, this limitation is shown on the screen. It is very good to watch someone's performance alone, but the communication between the characters is always mutually exclusive. Therefore, you will find that although Hopkins's performance in "Red Dragon" has reached its level, it still cannot give you the sense of horror. That's because no matter how wonderful the interpretation is, it can't be separated from the story itself and exist alone. He needs an opponent to dissolve and give back to his performance. "Red Dragon" did not set up such an "audience" for its success, so it finally achieved its self-centered "excellent performance".
At the same time, if Hannibal's role is completely deleted from "Red Dragon", the entire film can still "stand tall." The root cause of this phenomenon is that Will's detection in the film completely "escaped" Hannibal's control. It can even be said that if the latter had not deliberately misled and murdered, Will and the "Tooth Fairy" confrontation would be much smoother. But the same situation is almost unimaginable in "The Silent Lamb." Clarice's tracking of Buffalo Bill had received precise guidance from Hannibal from the beginning. The psychological test interspersed with reciprocity not only guided Clarice to find the right path, but also finally freed her from the psychological shadow that had been deposited for many years. The ogre in "The Silent Lamb" is a game master who can control the overall situation, and all the other characters are pawns played in the palm of his hand. He can indirectly participate in the situation and accurately control the outcome. However, the same character in "Red Dragon" is reduced to a "trapped beast" imprisoned in a cage, doing nothing other than making a few unnecessary roars and setting up one or two small traps.
The cast of "Red Dragon" is so luxurious that it makes people dizzy. Any actor can be a powerful faction on his own. But the director obviously lacks the ability to bring them together. The film has “dedicated” too many and outstanding personal performances for us, but there are few wonderful opponents. This fatal flaw makes the director's horrible effect of painstaking management often diluted by casual confrontation. In the end, what really impacts the audience's hearts is no longer the kind of thrill that can make the blood clot in "The Silent Lamb", but it is the naked blood and fighting that "Hannibal" loves.
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