Editorials
Finding an Underrated Performance in ‘Hannibal Rising’ [The Silver Lining]
In this edition of The Silver Lining, we’ll be covering Peter Webber’s 2007 entry in the Hannibal franchise, Hannibal Rising.
No character exemplifies our fascination with charismatic madmen like Thomas Harris’ most infamous creation, Dr. Hannibal Lecter. While the overall quality of the media he’s been featured in may vary, I’d argue that every single incarnation of this charming cannibal has been captivating for one reason or another. From Brian Cox’s cold-blooded grifter in Michael Mann’s Manhunter to Mads Mikkelsen’s nearly Luciferian performance in Bryan Fuller’s Hannibal, this iconic character is a gold-mine of storytelling possibilities.
That’s why it makes sense that we’d eventually see an origin story for one of the most celebrated killers in media. Back in 2006, Harris released the final addition to his Hannibal saga with Hannibal Rising, a prequel that detailed the titular character’s disturbing beginnings while also adding some controversial tragic elements to his backstory. A few months later, the Dino de Laurentis Company was already hard at work on a big-screen adaptation of the book, which was set to release the following year.
British filmmaker Peter Webber was soon hired to direct a script penned by Harris himself, with the up-and-coming French actor Gaspard Ulliel landing the coveted role of our liver-eating/chianti-guzzling protagonist. Like the novel, the film is a coming-of-age thriller that follows an orphaned Hannibal as he slowly discovers his passion for cannibalistic murder while seeking revenge against members of the Lithuanian militia that murdered his sister.
Fans of Harris’ true-crime inspired narratives were anxious to see what kind of murderous shenanigans led to Hannibal’s people-devouring habits, so when the first trailer dropped, folks were convinced that the flick was going to be a high-profile psychological thriller with a sinister edge.
SO WHAT WENT WRONG?
Grossing a little over $82 million dollars on a $50 million budget, Hannibal Rising wasn’t exactly the resounding success that the studio was hoping for. While the obvious lack of Anthony Hopkins’ star power is likely what kept the flick from reaching the same box office heights as its predecessors, the picture was also massacred by critics who accused it of cheapening Thomas Harris’ legacy. These days, the film sits at a disappointing 16% rating on Rotten Tomatoes.
Many complaints were directed towards Rising’s admittedly tacky approach to a previously complex and dignified character, with the film nearly turning Hannibal into a comic-book vigilante. The flick was even nominated for a couple of Golden Raspberry awards, though I wouldn’t put much faith in the institution that infamously criticized Shelley Duvall’s iconic performance in Kubrick’s adaptation of The Shining.
Of course, part of the problem with Rising’s negative reception is its source material. Harris was practically strong-armed into writing the novel after being pressured by producer Dino de Laurentis, who knew that a Lecter origin story was all but inevitable due to the character’s massive fanbase. Not wanting someone else to take over his beloved creation, Harris rushed out an unpolished yarn that pales in comparison to his previous work. Naturally, that lack of narrative finesse bled into his script.
Presenting audiences with paper-thin antagonists and several long stretches of movie where Hannibal deals with angst over the death of his sister, the film really isn’t as engaging as it should be. Vengeance is too simple of a motivation for a character as emotionally complex as Hannibal, so it’s hard to buy the protagonist’s Nazi-hunting adventures and clichéd moments of PTSD when we’ve already seen what kind of man he grows up to be. In all honesty, I think it would have been better to keep the iconic cannibal’s origins a mystery, as this anti-hero approach doesn’t add much to the franchise’s established mythology.
The choice to turn this chapter of the story into a prequel also sucks out much of the tension from what should have been incredibly thrilling scenes. We already know that the main character is going to survive to torment Will and Clarice as a ruthless villain in the future, so a lot of the story’s conflicts feel like characters are just going through the motions, with the experience often bordering on trope-heavy fanfiction.
THE SILVER LINING
This may be the weakest chapter in the Hannibal saga, but I’d argue that even Rising has its moments of brilliance. If you can get past the script’s shortcomings as a trope-heavy prequel with shallow psychological elements, you may find yourself enjoying a charming little revenge thriller with an underrated lead performance and some impressive production value.
While the film is impeccably shot and produced, with stunning European vistas and a nostalgic gleam that helps to set it apart from the gloom and doom of previous Harris adaptations, the real star of the show here is the late Gaspard Ulliel. No matter what you think about the rest of the flick, there’s no denying that the French thespian did this notorious character justice despite a less-than stellar script.
Ulliel is a joy to watch as this mild-mannered beast and I think it’s unfortunate that his unique take on the character was forced to live in the Hopkins’ shadow, especially when the actor made a visible effort not to simply imitate that iconic performance.
I’d also argue that Hannibal’s relationship with the Lady Murasaki makes for a genuinely human addition to his monstrous origin. The duo’s hesitant rapport becomes the true heart of the story and I wish that the idea could have been expanded further. A doomed love story between an honorable mentor and a deranged boy that’s destined to become a monster has a lot of potential for a compelling narrative, even if the film doesn’t quite nail the landing.
In fact, there are plenty of good ideas here (like the Samurai mask that foreshadows Hannibal’s iconic muzzle), but this tragic origin ultimately fumbled the execution. Fortunately, elements of the story were later salvaged by Fuller’s Hannibal series, which beautifully incorporated the titular character’s morally ambiguous motivations into the show sans the cheesy vigilante angle.
At the end of the day, Thomas Harris is a gifted writer and he still manages to deliver a compelling narrative even when rushing out a studio-mandated cash-grab. It likely won’t win over any new fans, but like its main character, Hannibal Rising has enough charm to be worth revisiting so long as you keep a safe distance.
Watching a bad movie doesn’t necessarily have to be a bad experience. Even the worst films can boast a good idea or two, and that’s why we’re trying to look on the bright side with The Silver Lining, where we shine a light on the best parts of traditionally maligned horror flicks.
Editorials
‘Immaculate’ – A Companion Watch Guide to the Religious Horror Movie and Its Cinematic Influences
The religious horror movie Immaculate, starring Sydney Sweeney and directed by Michael Mohan, wears its horror influences on its sleeves. NEON’s new horror movie is now available on Digital and PVOD, making it easier to catch up with the buzzy title. If you’ve already seen Immaculate, this companion watch guide highlights horror movies to pair with it.
Sweeney stars in Immaculate as Cecilia, a woman of devout faith who is offered a fulfilling new role at an illustrious Italian convent. Cecilia’s warm welcome to the picture-perfect Italian countryside gets derailed soon enough when she discovers she’s become pregnant and realizes the convent harbors disturbing secrets.
From Will Bates’ gothic score to the filming locations and even shot compositions, Immaculate owes a lot to its cinematic influences. Mohan pulls from more than just religious horror, though. While Immaculate pays tribute to the classics, the horror movie surprises for the way it leans so heavily into Italian horror and New French Extremity. Let’s dig into many of the film’s most prominent horror influences with a companion watch guide.
Warning: Immaculate spoilers ahead.
Rosemary’s Baby
!['Rosemary's Baby' - Is Paramount's 'Apartment 7A' a Secret Remake?! [Exclusive]](https://i0.wp.com/bloody-disgusting.com/wp-content/uploads/2022/06/Rosemarys-Baby.jpeg?resize=740%2C416&ssl=1)
The mother of all pregnancy horror movies introduces Rosemary Woodhouse (Mia Farrow), an eager-to-please housewife who’s supportive of her husband, Guy, and thrilled he landed them a spot in the coveted Bramford apartment building. Guy proposes a romantic evening, which gives way to a hallucinogenic nightmare scenario that leaves Rosemary confused and pregnant. Rosemary’s suspicions and paranoia mount as she’s gaslit by everyone around her, all attempting to distract her from her deeply abnormal pregnancy. While Cecilia follows a similar emotional journey to Rosemary, from the confusion over her baby’s conception to being gaslit by those who claim to have her best interests in mind, Immaculate inverts the iconic final frame of Rosemary’s Baby to great effect.
The Exorcist
William Friedkin’s horror classic shook audiences to their core upon release in the ’70s, largely for its shocking imagery. A grim battle over faith is waged between demon Pazuzu and priests Damien Karras (Jason Miller) and Lankester Merrin (Max von Sydow). The battleground happens to be a 12-year-old, Regan MacNeil (Linda Blair), whose possessed form commits blasphemy often, including violently masturbating with a crucifix. Yet Friedkin captures the horrifying events with stunning cinematography; the emotional complexity and shot composition lend elegance to a film that counterbalances the horror. That balance between transgressive imagery and artful form permeates Immaculate as well.
Suspiria
Jessica Harper stars as Suzy Bannion, an American newcomer at a prestigious dance academy in Germany who uncovers a supernatural conspiracy amid a series of grisly murders. It’s a dance academy so disciplined in its art form that its students and faculty live their full time, spending nearly every waking hour there, including built-in meals and scheduled bedtimes. Like Suzy Bannion, Cecilia is a novitiate committed to learning her chosen trade, so much so that she travels to a foreign country to continue her training. Also, like Suzy, Cecilia quickly realizes the pristine façade of her new setting belies sinister secrets that mean her harm.
What Have You Done to Solange?
This 1972 Italian horror film follows a college professor who gets embroiled in a bizarre series of murders when his mistress, a student, witnesses one taking place. The professor starts his own investigation to discover what happened to the young woman, Solange. Sex, murder, and religion course through this Giallo’s veins, which features I Spit on Your Grave’s Camille Keaton as Solange. Immaculate director Michael Mohan revealed to The Wrap that he emulated director Massimo Dallamano’s techniques, particularly in a key scene that sees Cecilia alone in a crowded room of male superiors, all interrogating her on her immaculate status.
The Red Queen Kills Seven Times
In this Giallo, two sisters inherit their family’s castle that’s also cursed. When a dark-haired, red-robed woman begins killing people around them, the sisters begin to wonder if the castle’s mysterious curse has resurfaced. Director Emilio Miraglia infuses his Giallo with vibrant style, with the titular Red Queen instantly eye-catching in design. While the killer’s design and use of red no doubt played an influential role in some of Immaculate’s nightmare imagery, its biggest inspiration in Mohan’s film is its score. Immaculate pays tribute to The Red Queen Kills Seven Times through specific music cues.
The Vanishing
Rex’s life is irrevocably changed when the love of his life is abducted from a rest stop. Three years later, he begins receiving letters from his girlfriend’s abductor. Director George Sluizer infuses his simple premise with bone-chilling dread and psychological terror as the kidnapper toys with Red. It builds to a harrowing finale you won’t forget; and neither did Mohan, who cited The Vanishing as an influence on Immaculate. Likely for its surprise closing moments, but mostly for the way Sluizer filmed from inside a coffin.
The Other Hell
This nunsploitation film begins where Immaculate ends: in the catacombs of a convent that leads to an underground laboratory. The Other Hell sees a priest investigating the seemingly paranormal activity surrounding the convent as possessed nuns get violent toward others. But is this a case of the Devil or simply nuns run amok? Immaculate opts to ground its horrors in reality, where The Other Hell leans into the supernatural, but the surprise lab setting beneath the holy grounds evokes the same sense of blasphemous shock.
Inside
During Immaculate‘s freakout climax, Cecilia sets the underground lab on fire with Father Sal Tedeschi (Álvaro Morte) locked inside. He manages to escape, though badly burned, and chases Cecilia through the catacombs. When Father Tedeschi catches Cecilia, he attempts to cut her baby out of her womb, and the stark imagery instantly calls Alexandre Bustillo and Julien Maury’s seminal French horror movie to mind. Like Tedeschi, Inside’s La Femme (Béatrice Dalle) will stop at nothing to get the baby, badly burned and all.
Burial Ground
At first glance, this Italian zombie movie bears little resemblance to Immaculate. The plot sees an eclectic group forced to band together against a wave of undead, offering no shortage of zombie gore and wild character quirks. What connects them is the setting; both employed the Villa Parisi as a filming location. The Villa Parisi happens to be a prominent filming spot for Italian horror; also pair the new horror movie with Mario Bava’s A Bay of Blood or Blood for Dracula for additional boundary-pushing horror titles shot at the Villa Parisi.
The Devils
The Devils was always intended to be incendiary. Horror, at its most depraved and sadistic, tends to make casual viewers uncomfortable. Ken Russell’s 1971 epic takes it to a whole new squeamish level with its nightmarish visuals steeped in some historical accuracy. There are the horror classics, like The Exorcist, and there are definitive transgressive horror cult classics. The Devils falls squarely in the latter, and Russell’s fearlessness in exploring taboos and wielding unholy imagery inspired Mohan’s approach to the escalating horror in Immaculate.
Five Underseen Vampire Horror Movies to Stream This Week
Dev Patel’s ‘Monkey Man’ Is Now Available to Watch at Home!
Looking for New Episodes of “Chucky” on Peacock? Here’s What Changed
‘Stream’ – Horror Movie from the Team Behind ‘Terrifier’ Sets August Theatrical Release
‘The Blair Witch Project’ – Original Stars Release a Statement Asking Lionsgate for Residuals & Recognition
You must be logged in to post a comment.