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'Hannibal' is a different movie in oh so many ways. Lecter is on the loose now and we simply miss the suspense of him being captured and still dangerous. Scottis very often being blamed for this lack of supsense but the man can't help it. If there's anyone to blame then blame Thomas Harris. But it would've been an almost exact copy of 'The Silence of the Lambs' and that would have been boring.
Julianne Moore was absolutely breath-taking. Some people said she was too good as an actress to play Starling. I disagree. She is more mature than Foster. She's not Foster, she's the Clarice of the present. And Hopkins is Lecter, although he describes is as just a part. He carries the movie and provides some of the best scenes I have seen in a long time with a dark whimsical type of sarcasm and irony. He stays within the limits of parody and could have provided himself with a much easier job by simply copying the lines of 'The Silence of the Lambs'. He doesn't. He adds new things to his character. The movie adds new things to his character. One of the most unpleasant things (that I personally did not like) was the fact his sexuality is questions several times. We already get confused in the Mason Verger flash-back scene and he acts rather gay when he meets commendatore Pazzi while holding his cigar.
Gary Oldman also deserves credit just as Giancarlo Giannini. The latter is rather impressive making his character human rather than a charicature.
Zimmer's musical score is breath-taking and very effective and so is Patrick Cassidy's mini-opera, 'Vide Cor Meum'. And what was most striking about 'Hannibal' in general was its stunning Cinematography. Was 'The Silence of the Lambs' rather dark, 'Hannibal' is warm. It's not just Florence giving the movie its touch it's Scott's feeling for image (his trademark). The movie's opening credits are very original, reminding me a bit of David Fincher's 'Se7en'.
Now is there anything negative to mention about this movie? Yes there is. It is far less creepy than 'The Silence of the Lambs', but as I mentioned before: it is a different movie. The movie very faithfully sticks to the novel. And I thought the beginning of the movie, let's say the first 30-40 minutes was pretty messy. The scenes are too short and being switched too often to really make an impression. The movie's first big scene, the drugbust at the fishmarket was quite messy also but it was a good opener anyway.
All in all a very good movie, with the occasional let down. I loved the shot of the lamb however. That is a merit of the movie: it refers to 'The Silence of the Lambs' but it doesn't overrefer to it... it has its own identity
Zimmer is known for his rather striking and effective composing. Not many people may be aware of the fact they must have seen quite some movies that were flavored by Zimmer's great sense of drama. The many titles he worked on include 'As Good As It Gets', 'Thelma And Louise' (yet another Ridley Scott collaboration), 'Twister', 'The House Of The Spirits', 'Scream 2', 'The Lion King', 'The Prince Of Egypt' (still one of my favorite scores) 'The Road To El Dorado' (his second collaboration with Elton John after 'The Lion King') and 'Mission Impossible 2'. He has a huge productivity and never seems to over rush while writing his music. He can easily measure up with some of today's most well-known score composers, including Howard Shore ('The Silence Of The Lambs', 'Se7en', 'Dogma' and the future 'The Lord Of The Rings' trilogy) and Jerry Goldsmith ('Alien' (yet another successful Ridley Scott film) 'Basic Instinct', 'Mulan', 'Hollow Man' and the re-make of 'The Planet Of The Apes').
Enough titles, let's talk about 'Hannibal' (haven't we all for months now?). What a lot of people don't realize is that a movie's score can actually have a huge influence on how a viewer experiences a movie. Most scores work with a certain theme that is being repeated throughout the movie. A very famous (and quite recent one) is the theme for 'Titanic' written by James Horner that uses the same theme over and over again almost with an annoying effect. Howard Shore's main theme used for 'The Silence Of The Lambs', which is present during the entire movie but in a very effective way. The official 'Hannibal' trailer used the Shore-theme and maybe some moments of the movie itself also will.
The 'Hannibal' score as released by Decca is comprised of a total number of 12 tracks. All are sort of linked together as though the score is one big piece. The first track 'Dear Clarice' (6:02) starts with some futuristically haunting sounds and a choir. Then Hannibal reads his letter to Clarice. Some of the lyrics are literally taken from the novel by Thomas Harris. After the letter a great string ensemble plays with the occasional piano-parts. It reminded me a lot of the opening-track of Jerry Goldsmith's score of the Paul Verhoeven movie 'Hollow Man' (the one played during the opening credits). It is haunting, tragic and very emotional. Some use of the cello and violins. This track really sets the mood for the rest of the score. At the end it contains some whispering (probably Hannibal).
The second track 'Aria Da Capo' (1:48) is a piano-piece played by Glenn Gould. It is part of the Goldberg Variations by by Johann Sebastian Bach. Goldberg was a rich man who set Bach the assignment to write a numerous amount of variations based on one theme. I supposed this version by Gould is an older one, since I already heard this track on Napster before the 'Hannibal' soundtrack was released.
The Bach variation blends into the third track, 'The Capponi Library' (1:14). This rather short track starts with the sound of rain and some mysterious noises. It is more a transition track than a separate piece. But it sets the mood quite well for the next piece, a variation of Johann Strauss's 'Blue Danube' leading us there with a reserved, sipping, cymbal.
Now track number 4, 'Gourmet Valse Tartare' (6:50) uses Strauss's theme beautifully. This track had me triggering. If the movie would have taken place in Vienna I could have gotten over it a lot sooner. But I get it now, although it took quite some time. Zimmer starts with a very faithful tribute to this waltz but then puts in his own theme that sounds merry and happy. The staccato edgy waltz sound takes you into a joyful mood but then changes color and becomes more and more aggressive. What I like most about this track is that it is very unsuspectful. After its first climax the waltz is being continued but just as abrupt broken down as the first time. It is actually beautifully orchestrated and now one of my favorite pieces. After the second climax some dark sounds begin to disappear overshadowed by minor string parts ending in some staccato copper sounds and you begin to get back to Strauss's waltz one more time but you feel rather uncomfortable since the mood you used to be in has disappeared completely. The finale of the piece with climbing climax almost takes you into a depression. The track end in a choir and some sound effects including voices to restore the peace.
'Avarice' (3:54) is the fifth track and starts with some xylophone (or vibraphone I can hardly ever keep these two apart) and some soft string accompaniment. The track builds up in a great way. After the percussion sounds some mysterious strings appear. It is very much in the mood of 'Dear Clarice', the track this album started with. Some of the theme of 'Dear Clarice' returns in 'Avarice' including the piano parts. I think Zimmer really has been influenced by Jerry Goldsmith for this theme.
Track #6 was given the title 'For A Small Stipend' (0:55) and is very much a transition to the next track. Not much happens in here and I wonder why this is a separate track. It starts with some haunting strings and introduces a rhythm that is being more explored in the next track. This rhythm reminded me a lot of the music Zimmer wrote with Stephen Schwartz (who wrote the lyrics to the Alan Menken songs for Disney's 'The Hunchback Of Notre Dame') for 'The Prince Of Egypt'.
Track 7 is called 'Firenze Di Notte' (3:09), meaning: 'Florence at night'. It uses a rather futuristic mixture of sounds, almost sounding like a lifting helicopter it also uses some Middle East sounding instruments (hardly audible though). After the rhythm has stopped the strings come back in using some of the theme we already heard before.
The next track, entitled 'Virtue' (4:37) starts with a choir and a nice string ensemble. I find this track very touching and emotional. It has a really soft, gentile flow and a great arrangement. You should just listen to it and close your eyes. It uses a lot of strings (a lot of cellos) as well as the harp, the instrument that also closes the track.
Track 9, 'Let My Home Be My Gallows' (10:00) is the longest track. It starts with a tremolo string theme and you even hear the sound of sitars at the background as well as the xylophone/vibraphone (whatever) merging with a choir. This is one of my favorite pieces. It is long but not too long. The pace is very pounding, like a heart-beat. After about two and a half minutes some horns and trumpets come in and a new choir theme starts (I think it's Latin, not sure) and a glockenspiel with a heart-beat rhythm leads into a great new choir theme leads to Hannibal's lecture to the group of scientists. It is about Dante's 'Inferno'. The speech is not distracting at all. It adds something to the music. Hopkins even starts talking Italian, which is pretty impressive. After the speech a woman starts singing followed by a choir. I see the great visuals Ridley Scott is known for of Florence when I close my eyes. It would fit the images I have seen perfectly. Then mysterious frightening sounds lead into the main theme again ending in a thunder of noise and sound effects to close the track.
The tenth track is called 'The Burning Heart' (4:24) and starts with the gentile string theme we heard earlier in 'Virtue'. Hannibal speaks again about the burning heart. I am not sure what part of this movie this is. Yet again the voice is not distracting at all. The track as a very soothing, comfortable pace with strings and choir.
The fore last track is called 'To Every Captive Soul' (6:55) and starts slowly and melodramatically. The strings are leading to the main theme but are a bit different and very tragic. It has a great new theme and an emotional flow.
The last track 'Vide Cor Meum' (4:20) is the mini-opera composed by Klaus Badelt. It is an opera about Dante's life and sung by Danielle DeNiesse (as Beatrice) and Bruno Lazzaretti (as Dante). Badelt might use this piece to write and entire opera about Dante. The piece is beautifully sung and sounds like a dream. The end of this track has Hannibal saying: "Ta ta, H", just as in the letter of 'Dear Clarice' and at the very end a loud sound makes you jump up from your chair.
With this score Zimmer has shown he can still write great scores. The score uses a lot of strings and has a dark mood. But the feeling that was most present for me is tragedy. Hannibal's life just as Clarice's is one of many tragedy's. Hannibal losing his sister and parents to a couple of man-eating poachers and Clarice losing her dad and mum, becoming an orphan. Many people may not realize this but their lives have many things in common. And Clarice doesn't want to face this but Hannibal is very much aware of this. But maybe it's Clarice's lack of knowledge of Hannibal's past.
The movie itself probably uses a lot more music. But if the rest (including Anthony Hopkins's self-composed tune?) is as good as this soundtrack the movie will have great visuals AND great sound!
Score written by: Hans Zimmer with additional music by Johann Sebastian Bach, Klaus Badelt and Geoff Zanelli. Produced by: Hans Zimmer and Pietro Scalia Distributed by: Universal Distribution Label: UNI/Decca This review: Arjan Welles
Great review, Arjan! Thanks!