|Hugh Dancy, Mads Mikkelsen & Laurence Fishburne|
The credits tell us this is “based on characters from Red Dragon by Thomas Harris”, but the “Tooth Fairy”, the family-slayer from that book, doesn’t appear till the last few episodes of Series Three. The first thirty-plus hours introduce other killers, other crimes – and, of course, Hannibal whose crimes are sometimes attributed to others.
The ill-fated Florence detective and Mason Verger (and his sister) (from Harris’s third book) are featured, and there are scenes augmented from Hannibal Rising, Book Four – the “prequel”. Conspicuously absent is Clarice Starling and the whole storyline from Silence of the Lambs. Clarice is replaced by some new female characters, including Gillan Anderson as a shrink who is close to Hannibal and also close to psychosis herself.
The big liberty taken in this version is that Hannibal (Mads Mikkelsen) is working with Will Graham (Hugh Dancy) and Jack Crawford (Laurence Fishburne) at the FBI as a consultant; he’s also Will’s psychotherapist. We, the viewers, are shown his killer/cannibal side, but it takes a while for the others to catch on to the viper in their bosom. Will Graham bonds with Hannibal and learns what happens when the moth gets too close to the flame.
Production values are high and the cast, down to the supporting players, are all on top form. Mikkelsen’s Hannibal is a lot creepier than Anthony Hopkins’s near-pantomime baddie. The screenwriters have pushed the envelope way beyond the Tooth Fairy (and even the absent Buffalo Bill from Silence of the Lambs) to introduce their own bevy of serial slayers. Bryan Fuller is credited as creator/producer, so I guess this gore-fest is what he set out to achieve. One killer in the first series turns bodies and body parts into totem poles. This I found genuinely nauseating. This show takes us close to torture porn, of which we see increasing amounts on TV and in the cinema. I worry that this kind of thing gives nourishment to already sick minds.
Yes, I found the whole 39 episodes relentlessly compelling – apart from a few longueurs (Dancy’s breakdown is over-extended and Anderson’s character becomes tiresome). But I think it’s time we reappraised the current definition of what is classed as Suitable Viewing.