this week i read in the british magazine Empire Ridley Scott says he regrets making a mistake in directing foreign covenant rather blade runner 2049About which he confirmed that it is the better film of both.
and the dilemma of choosing between sequels in his career, is important now as he prepares gladiators 2has inspired me to look for another sequel in the recent career of the director, Hannibal (2001), for an important video on demand that you have on this same AccionCine website.
I think that Hannibal Ridley Scott places the viewer, like the protagonist, between two animals.
The first of those, Beast with a capital letter, is the most intriguing and disturbing and embodies the extravagance of the director’s undeniable talent for audiovisually depicting the darkest corners of the human soul. Just like Hannibal, played by Anthony Hopkins, he is the darkest, most revealing and fascinating animal.
The other animal, with a smaller letter, is the almost exhibitionist pedantry that sometimes seeps into some of his films as a foul mark of creative insecurity in the form of unnecessary understatement, frankness that is clearly beneath his talent and There is a clear overlapping of concepts. That other beast is presented in this film through some dialogue, as complex as some moments of plot development, in a display of clarity that presides over a sequence of operatic representations of Dante’s Inferno, in which a Including the winged demon, and to top it all off the barely developed, incomplete, pointless character of Mason Vergar, the victim who survived, played by Gary Oldman. It is significant and almost worth studying that Scott repeated the same misstep years later with the masked character played by Edward Norton in the unsuccessful film. kingdom of heaven (2005).
Suffice it to compare this character to Buffalo Bill the silence of the Lambs (Jonathan Demme, 1991) To understand that we are dealing with an overlap of schemes from the first film to the second, although Buffalo Bill contributes much of it the silence of the Lambs From his interestingly supporting resemblance to Hannibal to completely defining himself in everything that separates him from Dr. Lecter in comparison to Mason Verger, Anthony Hopkins’ character became the only portrayal in this sequel.
Mason is clearly the embodiment of that beast of pedantry that tries miserably to compete with the best qualities of the portrayal of darkness created in Dr. Lecter’s best moments in this film, but fails. Most disappointingly, Hannibal himself occasionally falls into the quagmire of pedantry, ditching his pants in the mud of the obvious or overly idealized, forgetting the unpredictable nature of the character. It is Hannibal in some moments that repeats what has already been told and known about the character the silence of the Lambs Whereas he needs to be a Hannibal capable of surprising us and being a less familiar, less repetitive, agent of uncontrollable chaos.
The first animal in this film, interestingly, which I capitalize, is thus doomed to become another animal with lower case, more addicted to currency than chaos.
But that is not all. The duality of the two beasts takes on a different nature and is even more interesting to enter a realm that we can place among Ridley Scott’s best cinematic successes in Lecter’s final encounter with Clarice. Important Nuances: Clarice’s encounter with Hannibal, not the condemnation of the true vulnerability to which she succumbs and the disclosure of her false vulnerability, in a consistent and significant weight shift of greater prominence within the co-dominance that the two share. Presents Hannibal Vs the silence of the Lambs,
The sequence in which the FBI agent, played by Julianne Moore, finally meets Hannibal, reveals her pale and ghostly beauty surrounded by light, darkness, and at the same time swallowed by the darkness that ultimately represents Hannibal himself. The dramatic twist and final supremacy of Beauty over the Beast. We watch on screen as Clarice invites us through the eyes of a brilliant Julianne Moore to peer into the dark abyss in which the real Hannibal Lecter lives.
This is where the great beast that always lurks in Ridley Scott’s best movies shines.
everything makes me doubt that your Napoleon It’s going to be an animal with a capital letter, and I just hope that animal with a lowercase letter doesn’t show up in any of these gladiators 2Because we deserve to enjoy the best of Ridley Scott.
miguel juan payon
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