‘The Silence of the Lambs’: Clarice and Dr. Lecter’s psychological ‘cat-and-mouse’ game

Published

4 years ago

June 23, 2021

Wade Wainio

Some characters are better when presented mysteriously, and such is definitely the case with Dr. Hannibal Lecter (Anthony Hopkins) in Jonathan Demme’s The Silence of the Lambs. Then again, he isn’t the only character harboring mysteries and secrets. In addition to the film’s other main serial killer, Jame “Buffalo Bill” Gumb (Ted Levine), you have FBI agent-in-training Clarice Starling (Jodie Foster). From the film’s beginning, we get a sense of her somewhat cold, distant, detached personality, and a lingering sense that she may have some mental ailment, something holding her back yet forcing her to prove herself.

Obviously, as The Silence of the Lambs progresses in its cat-and-mouse games, Dr. Lecter explores certain elements of her psyche, and there are no strong hints she is putting up a false front. Also, curiously, Hannibal seems to respect her for doing this, rather than sadistically toy with it as much as he could. This is, of course, in stark contrast with how he treats certain other characters, such as U.S. Senator Ruth Martin (Diane Baker), who is particularly victimized by his snide humor. So the question becomes: What is with Dr. Lecter’s decisions in this film? That’s as interesting as it is mysterious.

Dr. Lecter’s Perception as Shown in ‘The Silence of the Lambs’

Before he worked in Florence, Italy under the stolen identity of Dr. Fell in the film Hannibal, most of us knew Hannibal Lecter as an exceptionally unique inmate at the Baltimore State Hospital for the Criminally Insane (obviously, this title might now be deemed politically incorrect, but it flew back in 1991). We quite instantly recognize Lecter as a complex, intriguing, menacing character, who creepily never seems to blink and always has insight into the psychology of anyone in the room. Yes, he makes it clear to Clarice that he’s dangerous, but (in his own ways) tries to reassure her that he’s somehow a civilized murderous cannibal.

It’s a strange and volatile cocktail of character elements, and the average viewer surely wonders how many he has killed and fed from versus how many he has spared, and for what reasons. Also, because Clarice is difficult to read, we don’t quite know how vulnerable she really is to Dr. Lecter. We do know that, if he is unconvinced she is being genuine, he’s unlikely to assist her in any way. This already provides some insight into how his mind works. Like practically anyone else, Dr. Hannibal Lecter has some respect for honesty, integrity, and a willingness to engage one seriously and with fairness. At the same time, Lecter is aware of the dual nature of his engagements with Clarice, so he knows there must always be some level of deceit between the two of them, making The Silence of the Lambs a psychological game of cat-and-mouse.

Lecter’s More Refined Side vs. the Articulate, Brooding Brute Behind Glass

Because of the groundwork laid by The Silence of the Lambs, audiences came to know and respect who (and what) Dr. Lecter is. The events of this film helped us believe that, yes, Lecter can speak near-perfect Italian and is widely knowledgable about things like the history of Florence, Italy. We also recognize that, to a considerable degree, this veil of high culture and encyclopedic knowledge base allowed him to conceal his brutal side. In fact, we are given the impression that, if Clarice isn’t careful, she might think the stories she has heard about him are lies.

In a way, Clarice ends up lowering Dr. Lecter’s own defenses in the cat-and-mouse game, too. It seems he cannot approach her from any single angle, due to her often unassuming manner, yet she’s fully capable of challenging him if he is deceitful, showing a lack of fear and enough charisma to impress him. For example, Lecter blunders noticeably in his attempt to prevent her image from being sexless, as he improvises stories about her sexual encounters. She notes he is being crass, and he noticeably retreats from this psychological line of attack, or maybe even clumsy flirtation. It’s still interesting how this interpersonal mystery between the characters ties into solving the Buffalo Bill murders.

Would Dr. Lecter Kill Clarice?

I only vaguely remember the first time watching The Silence of the Lambs. However, I’m pretty sure I never assumed he planned to kill Starling by the movie’s end. Yes, he plans to make Dr. Frederick Chilton (Anthony Heald) into a special project, but there’s every reason to assume Dr. Lecter’s honest about not making her life a living hell. Quite simply, he likes her too much. It’s hard to say exactly why, but it doesn’t seem to be merely because he’s attracted to her, but he seems to respect her dedication.

Let’s face it, he also has the ability to pick and choose victims based on his own calculations, be they plain or esoteric to our own understandings. Although he is cold and calculating, he also seems capable of grasping things like empathy, at least intellectually. Thomas Harris-based films often play with this idea about killers being complex and evolving. As another example, Red Dragon‘s “Tooth Fairy” killer decides to torch his house to fake his own death (and ostensibly eliminate some evidence of his crimes).

In the end, all movies can be interpreted in any way we choose, with some ways being more plausible than others. In the universe firmly established in The Silence of the Lambs, it seems Clarice would have the luxury of safety from dying at his hands (or teeth). FBI Agent Jack Crawford (Scott Glenn) and Dr. Chilton are not wrong to call Lecter deadly, and that’s part of why his story has branched out well past 1991, and he has become one of the more complex horror icons out there.

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Wade Wainio

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Movies n TV

Witness the Supernatural Horror of The Eye (2008)

Living blind most of her life, Sydney Wells (Jessica Alba) undergoes a transplant in The Eye (2008) and witnesses unexplainable phenomenon.

Published

21 minutes ago

February 22, 2025

Zeth M. Martinez

Living blind most of her life, Sydney Wells (Jessica Alba) undergoes a transplant in The Eye (2008). The clearer her vision becomes, the more unexplainable the sights she witnesses. Yet, no one seems to understand or believe her. To understand what she’s seeing, Sydney must uncover what happened to her doner.

The Eye (2008) is a supernatural horror film directed by David Moreau and Xavier Palud, an American remake of a Chinese film of the same name directed by the Pang brothers. This PG-13 film stars Jessica Alba, Alessandro Nivola, Parker Posey and Rade Serbedzija. As of this review, the film is available on Amazon Prime Video.

A woman looks slightly to the left of the viewer. Her eyes are white and skin pale with pink lips contrasting against the bland color scheme. Below her reads "The Eye" — The Eye (2008) Horror Poster Winner from the Golden Trailer

What I Like about The Eye (2008)

In 2008, the film earned two awards and three nominations. The poster above and Jessica Alba received award-winning acclaim. This should probably fall within the Dislikes, but it also earned Jessica Alba a Razzi nomination in 2009. However, the Razzi likely focused on her performance on The Love Guru. Make of that what you will.

I’ll further comment on this point in later sections, but The Eye does work to show the complexities of incorporating this new sense from a character who has lived most of her life without it. She isn’t “fixed” because she was never broken, and it’s a commendable decision considering how often the opposite idea appears.

This film focuses on Jessica Alba, allowing her plenty of material to work through as she slowly breaks down against the mounting issues facing her. It remains a largely controlled performance based on the material given. She would win a Teen Choice Award and (funnily enough) the previously mentioned Razzi nomination. There’s another small role from a recognizable actress in one of her early roles. I will say no more on the matter.

The Eye (2008) [Blu-ray] – Expired Digital Copy

THE EYE DESCRIPTION The violinist Sydney Wells has been blind since she was five years old due to an accident
She submits to a surgery of cornea transplantation to recover her vision, and while recovering from the operation, she realizes that she’s having strange visions
With the support of Dr

The Eye (Two-Disc Special Edition + Digital Copy)

Jessica Alba stars as a blind woman who receives an eye transplant, which allows her to see into the supernatural world, in this $31 million-grossing film
Bonuses: featurettes, deleted scenes, digital copy

Last update on 2025-02-22 / Affiliate links / Images from Amazon Product Advertising API

The Eye has strong bones and twists that I imagine come from the original film. I won’t comment further on the original, but The Eye provides twists that run with the concept of inherited memories. I love how The Eye explores this concept, though execution doesn’t fully develop these ideas.

Moving the narrative to Mexico adds a refreshing change of location. It adds some variety to the setting and a pleasant shift. However, I will say that the random town provides a typical depiction of rural Mexico.

Despite my reservations about The Eye‘s execution, the film lingers in its horror and often haunts the viewer. From the film’s concept to the visuals, The Eye has an early 2000s charm. Yes, it’s flawed and lacks in parts, but it still provides an entertaining and enjoyable experience.

White background, rubber stamp with disclaimer pressed against the white background. — Disclaimer Kimberley Web Design

Tired Tropes and Triggers

Ableism remains a potential issue for the film, though the ending persuades me against that concept. What can’t be denied is that there are several ableist characters, though I linger in the idea that this is intentional. The film shows their perspectives are wrong or inaccurate.

The key trope that this film explores is cellular memory. One addition to this concept is inheriting someone’s supernatural gifts. Though, that’s far from unique at this point.

Through a blue tinted hallway, a child stands before the viewer. Ahead of the child is an opened room with a bright light. There appears to be someone in the light. — The Eye (2002) Original Film Cover

What I Dislike about The Eye (2008)

Dr. Paul Faulkner (Alessandro Nivola) acts as a co-lead in the film and seems deplorable with his patient (Sydney). This is in no way an inherent issue with the actor but the writing. For a doctor who specializes in Sydney Well’s particular struggles, he seems furious anytime she appears overwhelmed. While it’s possible the ending suggests they are a couple, The Eye does leave this ambiguous. If The Eye intends to pair them by labeling these arguments as romantic chemistry, it fails.

The biggest problem with The Eye remains the underdeveloped ideas. While the plot points remain interesting, few get explored to any depth worth mentioning. Little gets solved, and even the climactic moment of development seems more a matter of happenstance. It makes me wonder if the original film might better explore these concepts.

A kraken emerges from the ocean, attacking a ship. The tint suggests the image is a map icon.

Final Thoughts on The Eye (2008)

The Eye explores cellular memory with a supernatural twist. While far from a flawlessly executed film, a 2000s charm makes it memorable. If it further developed its concepts, The Eye might haunt in all aspects. However, it fills a niche for those with a taste for premonitions and lingering reapers eager for souls.
(2.5 / 5)

Movies n TV

The Root of All Evil, or “The Demon of Money”

The assessors explore the vile evil of stock trading in “The Demon of Money,” the ninth episode of season 3.

Published

2 hours ago

February 22, 2025

Zeth M. Martinez

“The Demon of Money” is the ninth episode of season 3 of Evil, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. As of this review, it’s available through Netflix and Paramount+ and its add-ons.

The assessors explore the vile evil of stock trading. Dr. Boggs (Kurt Fuller) gets a positive review for his first draft. Grace Ling (Li Jun Li) struggles to adjust to her new reality. Leland (Michael Emerson) takes matters into his own hands. Monsignor (Boris McGiver) does what he must to do good.

Evil written in bold, a snake reaches for an apple. Beneath reads Season 3 — Evil Season 3 Cover

What I Like about “The Demon of Money”

The investigation of DF’s stock provides a strange but enthralling mystery, accurately pointed out as similar to The Ring by Ben. It’s an unsettling and tension-inducing procedural plot to connect “The Demon of Money” together.

Michael Emerson’s Leland balances a genuinely horrifying character with Evil’s campier execution to deliver a haunting performance. This season seems focused on restructuring Leland’s transformation as the series’ key villain, forcing him to balance against other potential threats.

I initially struggled to understand Kristen’s distrust of Dr. Boggs, uncertain of what finally convinced Kristen. “The Demon of Money” clears up this confusion completely after revealing his book. While it’s not directly shown that Kristen read the book, the evidence suggests this is the case. I won’t reveal why it’s so concerning, but I love that Evil doesn’t beat the strangeness into the viewer, trusting them to catch on.

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Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
Robert King (Director)
Audience Rating: NR (Not Rated)

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Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
Robert King (Director)
Audience Rating: NR (Not Rated)

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Monsignor delivers a moment of action for a character who often defines inaction. It’s an intense moment to see and a pleasant development for a character who plays a key role in the series. It also incentivizes a returning character.

Li Jun Li also pushes the boundaries of Grace Ling, possibly earning the right to claim this episode as her own. As a prophet-esque character, there’s often an instinct to dive into the mystic wisdom, but Grace seems burdened by her gifts and the pressure placed on her.

“The Demon of Money” remains a haunting episode of Evil, paying off many of the points built up in previous episodes. This episode pulls off most of season 3’s setup while delivering haunting moments.

Tired Tropes and Triggers

One can argue that “The Demon of Money uses the bury your gays trope. It’s hard to deny when there’s an admission of love just as death occurs.

There’s some effective bodily disfigurement within this episode, one example leaning toward body horror. These are the results of self-harm, but these actions remain off-screen. Viewers witness the results of the act, but the harm is relayed to the viewer well after the act

A party setting with dominant green balloons. Several people stand to celebrate someone unseen. — Party Time

What I Dislike about “The Demon of Money”

The procedural plot will have a slight return in a later episode, but it reaches a conclusion that doesn’t satisfy the mystery. I wanted more of it, which is far from a bad problem but one to point out. Ultimately, the missed potential undermines the execution.

Ben claims The Ring is a B-film, which is rightly called out, but the claim can’t go unmentioned here. Regardless of one’s opinions of the adaptation, it’s hard to label the film as a low-budget B-film considering its 48 million dollar budget. For shame on that claim.

Final Thoughts

“The Demon of Money” brings viewers closer to the end of season 3, tying the loose plot threads to set up the season finale. With a haunting procedural investigation, this episode remains a unique example of what Evil offers. While some weaknesses appear and interesting plots drop, the episode lingers in the mind to haunt the viewer.
(5 / 5)

Movies n TV

Anna (2013) To Some, Mindscape to Others, a Thriller Film

Anna (2013), also known as Mindscape, is a psychological thriller of a struggling memory detective named John.

Published

1 day ago

February 21, 2025

Zeth M. Martinez

Anna (2013), also known as Mindscape, is a psychological thriller directed by Jorge Dorado. This R-rated directorial debut stars Mark Strong, Taissa Farmiga, Brian Cox, Saskia Reeves, Richard Dillane, and Indira Varma. As of this review, interested viewers can watch this film on VUDU, Hoopla, Plex Channel, Pluto TV, Roku Channel, Tubi TV, Amazon Prime, and more. Anna originally released in 2013, but it released in the US in 2014.

Struggling to return to his work as a memory detective, John (Mark Strong) pursues a new assignment. Anna (Taissa Farmiga) views John as her last chance to prove her innocence before she’s condemned to an asylum. As John searches through her memories, a tale of abuse and manipulation unravels.

A woman tinted red looks ahead with a knife in her hand. Her face obscured from the viewer. Behind her is a manor. Below reads "Mindscape" — Mindscape Cover of *Anna* (2013)

What I Like about Anna (2013)

Anna earned three nominations but no award recognition. From the Sitges–Catalonian International Film Festival, it earned a nomination for Best Motion Picture. The Goya Awards recognized Jorge Dorado with the 2014 nomination for Best New Director. Finally, Anna received a nomination from the Gaudí Awards for Best Art Direction.

Taissa Farmiga’s performance balances the line between suspicious and innocent, which is necessary for this unraveling mystery. It’s a delicate role, but Taissa Farmiga brings to life the material given.

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Acclaimed filmmaker Christopher Nolan directs an international cast in “Inception,” an original sci-fi actioner that travels around the globe and into the intimate and infinite world of dreams
Dom Cobb (Leonardo DiCaprio) is a skilled thief, the best in the dangerous art of extraction: stealing valuable secrets from deep within the subconscious during the dream state when the mind is at its most vulnerable
Cobb’s rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved

Last update on 2025-02-22 / Affiliate links / Images from Amazon Product Advertising API

Anna‘s plot rotates around a new fringe science that’s slowly gaining traction. It’s less a dissection of this science and more a norm that Anna expects viewers to believe. It’s an interesting concept, though not unique. Still, it’s a nice additional dynamic to the mystery.

While not a horrifying film, it does deliver a mystery that keeps viewers engaged with enough hooks to add an extra layer before something gets stale. That mystery does linger in the mind in some respects but doesn’t haunt the viewer.

Tired Tropes and Triggers

Despite Anna not depicting these moments, sexual assault remains a recurring element of the film. Little remains conclusive, with some suggestions that these are false allegations. Furthering this point, the film depicts Anna as a manipulator and flirt when some incidents suggest she’s a survivor of assault.

Derogatory language might upset some, but these remain brief moments. The use indicates a particular character’s immaturity, but I’ll raise the point regardless. Furthering this line of analysis is a moment where a bullied character is implied to be gay, but it’s likely just an insult.

While not inherently a trigger, this new field of science earns the claim of being somewhere between forensic science and lie detector tests, a massive gap that anything can fit in. It makes everything subjective when the film wants to claim absolute evidence. I can’t help but wonder what exploring that unreliability might look like, but that’s not this film.

A man shines a flashlight, looking confused at something unseen. — Mark Strong as John

What I Dislike about Anna (2013)

The biggest deal breaker for some is this concept of a teen mastermind. I won’t go into details about the mystery, but I am often fatigued with this idea of a teen femme fatale. While Anna gives enough mystery, it’s an overused trope.

Mark Strong’s performance delivers on the material, but John seems so easily manipulated for someone who does this as a profession. While out of practice, I don’t understand why he believes or doesn’t believe information. If Anna depicts John as overly critical or gullible, the film will have a more consistent character.

I assume there remains an understandable reason for the name change, but Anna appears as a common title for a film, spinning a series of some recognition. Mindscape also earns some recognition and competition, but it’s a more memorable title than a single noun name.

Final Thoughts

Anna provides an interesting concept and mystery, but many shortcomings hinder the execution. Viewers eager for a psychological mystery with a drop of sci-fi, Anna delivers an engaging story. However, the market does provide competition, making it a tough film to recommend.
(3 / 5)