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Clarice Starling (Jodie Foster) is an ambitious FBI cadet who's always on top of her class, and thus has attracted the attention of Jack Crawford (Scott Glenn), head of the FBI's Behavioural Science Unit, who tasks her with interrogating serial killer Hannibal "the Cannibal" Lecter (Anthony Hopkins), once a brilliant psychiatrist who could get into people's minds, but not held in a high security facility - the reason for this being is that they hope to secure his help in capturing another serial killer, Buffalo Bill (Ted Levine), a psycho who has taken a liking in skinning his plus-size victims. No Lecter has zero interest in helping the FBI, but Clarice impresses him, both her resilience and her intelligence, so he starts playing games with her, getting into her mind, but also giving her bits and pieces of information that lead to Buffalo Bill. Then the hunt for Buffalo Bill becomes much more urgent as he has kidnapped the daughter (Brooke Smith) of a senator (Diane Baker), and knowing he keeps his victims alive for several days before killing and skinning them, it's a race with time ... which is when Hannibal's chief doctor Chilton (Anthony Heald) makes several of Clarice's findings public, selling them as his own of course, and offers Hannibal a deal - better accommodations at least - in return for his help. Hannibal sees through this, knows Chilton is only doing this to raise his own profile, so he sends the FBI on a wild goose chase while dropping more clues to Clarice - who sees to his charade with the FBI -, and then making a daring escape from his temporary quarters. And while an FBI SWAT team storms an empty house, Clarice, following clues provided by Hannibal, pretty much stumbles into Buffalo Bill's lair - but he's not one to go down without a fight ...

Genre fave Charles Napier plays one of Lecter's guards who gets killed when he escapes.

The Silence of the Lambs is quite simply an amazing movie, as it really manages to be several things at once, from police procedural to serial killer horror, whodunnit to character study, and manages to put in a women in the workplace message that doesn't seem forced. This blend works though because director Jonathan Demme has managed to work it into an homogenous whole, via a directorial effort that puts just as much value on simple looks and gestures as on spectacle, remaining really close with the film's main players rather than shooting off into all directions for maximum overload. And of course, a first rate cast helps immensely here, as does awesome camerawork, and an enjoyably old school suspense score by Howard Shore.

A must-see for sure!

review © by Mike Haberfelner

 

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