“Who’s hungry?” Dr. Lecter charmingly asks in a pre-credit
sequence. We are Dr! Let us indulge in another magnificent course of this show.
As it stands, the Chesapeake Ripper is still at large and the
pressure is on for Will Graham and co. to crack the case as two new victims
surface. The question is, do both belong to the Ripper or is there another
sociopathic killer on the loose? With Jack Crawford eager to catch the man
responsible for Miriam’s death, the tension is high and the pressure is on in Hannibal’s
most graphic but elegant episode yet.
We begin in a lecture hall with Graham profiling as much as
he can of the Ripper – a useful lesson for students, a subtle reminder for us
audiences. We are ‘taught’ the Ripper kills in “sounders of three”, skilfully removing
organs alluding to an anatomical or surgical know how. More importantly, the
Ripper possesses a theatrical and distinctive brutality – an example of which showcased
last week, as the arm of his last victim (Miriam) was left to be discovered, even
paraded.
Out of the lecture and into the oesophagus (literally) we
join Lecter at the opera in a sequence that boasts beautiful
cinematography. The opera singer is lit in a way that presents the utmost
glamour and theatricality, setting up a running theme and palette throughout
this entire episode. In a post-opera chat, particularly rife with farce, a
woman pesters Lecter to cook another feast. In his atypical charming
manner, he replies “You cannot force a feast, a feast must present itself... a feast is life, you put life in your belly and you live..." - little do they know he means this literally. Oh Lecter, how you toy
with us.
Poor Crawford – Miriam’s phone calls remain to haunt him and his guilt is even manifesting itself as an organ-harvested Graham. Is he making a mistake pushing Graham on this case? Regardless, both
are called to a crime scene in which a body has been found, organs reportedly
removed. Could this be another cycle for the Ripper? Both arrive at the scene,
a hotel bathroom posessing an identical layout and colour palette to
that of Room 237 in The Shining. It’s a nice, subtle inclusion for us horror
fanatics out there which will no doubt lead to a minute squeal of glee. As
Graham empathises with the killer, the episode delves into
particularly gory territory, namely lots of blood and a cardiac massage. From
this Graham deduces it was not the Ripper at work but someone else, a killer
that didn't mean to kill. As ever, Graham was on the
money and they later catch the medical student responsible. Hardly a mushroom
growing pharmacist, but a young man who had taken a few too many liberties as a means of getting into the organ harvesting business. With this step back in the
case, Crawford asks Graham how he envisages the Ripper, “he looks normal,
nobody can tell what he is...”. Cut to Lecter.
Each week a little more is revealed about Lecter,
another layer is peeled away. We learn that just like his patient Franklin, who is getting a
little too involved in the doctor-patient relationship, he too gets lonely. One can't help but sympathise with him as he opens his office door to an empty waiting room. Lecter requires human interaction... and not just for food. He also has his own
psychiatrist, wonderfully played by Gillian Anderson. In a brief moment of
shared discourse, both converse semi-professionally. She profiles Lecter as
a man in a “well-tailored person suit”, an analysis so spot on, Graham better watch out. Professionalism soon turns somewhat
flirty however and both succumb to a glass of wine – an “unconventional psychiatrist”
to say the least. In fact Lecter also flirts with Alana Bloom whilst
preparing dinner – turns out our Hannibal is quite the lothario, ever playing
to that masquerade of normalcy. His surgical know-how, akin to that of the
Ripper, is also discovered by Graham. You’d think this revelation would be a
point of epiphany for our favourite FBI profiler but alas, he’s victim to that
European charm just as much as the next person.
Of course the main factor we can deduce from Lecters
repertoire of skills and charm is his penchant for cooking. You think we've seen his culinary skills already? Well think again. After praying on his next
victim, Mr Caldwell, the episode spirals into intermittent shots of food
preparation that would put any round of Masterchef to shame. The particular
mode of editing here, capturing Lecters methodical process, is one of a
true craft and this week's highlight. Close ups of organ preparation, a rolodex of victims’ calling cards
and a recipe box are all cut together, fetishising his cannibalistic
process in the most tantalising way. From the operatic score, right down to the
calligraphy of each recipe, the whole sequence, and Dr. Lecter himself, possesses pure
elegance, grace and beauty. Bryan Fuller is a true master of characterisation
and construction. The episode closes with the feast of all feasts, finally, it
has life and you guessed it... “nothing is vegetarian”.
Two killers and two victims later, the Chesapeake Ripper is
still at large, as is Lecters meat supply. Strong character development and
dialogue continues but visually, this is the episode that has particularly struck a
chord. Graham so eloquently explains this week how Lecter's mutilations hide the true nature of his crimes, how every brutal choice of the
Ripper has elegance and grace. The same can be said for this very episode and
in fact, the whole series. Shown amidst the preparation for the feast, Fuller surrounds each brutality with a magnitude of
beauty - from the operatic score, to cinematography, to food pornography. In terms
of art and craftsmanship... this is the best episode yet.
What were your thoughts on this week's episode? Post a comment!
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