Episode one through eight of Hannibal have been consistently
superb; excellent performances, twisted sub plots and a visual sensibility so
beautiful, you find yourself ogling over the most desecrating murders and
cannibalistic meals. It was only a matter of time therefore; that this
wonderful series should hit a bump in the proverbial rode, or serve a bad dish
in keeping with the food puns. Trou Normand, whilst still strong in terms of televisual
quality, was no doubt a slight lull.
Ah Grafton, West Virginia – comprising of lovely scenery,
beautiful beaches and a totem pole made out of 17 bodies. Not even 20 seconds
in to the pre-credit opening and already we are witness to the “serial killer
of the week’s” latest exhibit. It is one of an epic scale, where theatricality
and hyperbole take precedence... more so than usual. Through Will Graham’s trick of empathy, he concludes the design is a
murderous act of careful planning and precision – it is a resume, a body of work,
a legacy. Bizarre then, that this is the least compelling and enigmatic
crime scene of the entire series. Or perhaps, like Graham, I too may be becoming
desensitised to it all. After what appeared to be an all-to-easy and short
investigation, the man responsible was found – Lawrence Wells. Turns out he
wanted to be caught so he could enjoy the remaining years of his life in
prison – a building which he deems would be better than any retirement home he
could afford. It’s also discovered that through issues of fidelity and a
mistaken case of identity, he unknowingly murdered his own son. Altogether, the
usual intense-ridden chase of a psychopath with a flair for artistic display
instead felt forced and far too convoluted.
It did however lead to two far more important and brilliant
features of this episode. The first being a small cameo from the one and only
Lance Henriksen (who played the role of Wells), the second being Graham’s
vastly dilapidating mental state. So far we have seen him sleep walking, hallucinating
and hearing strange noises. This week he finds himself losing time, one minute
standing at the Grafton crime scene, the next at Dr. Lecter’s office, or teaching to a lecture theatre full of students to teaching well... no one at
all. It is safe to say that he is one or two baskets short of a picnic,
something that Alana Bloom honestly reminds him, admitting to foregoing any
romantic involvement due to his mental instability. How much more can
he take? And with losing time and self-awareness, what will he do next? As
Lecter himself worries, “I don’t want you to wake up and see a totem of your
own making”.
With that in mind, it is only natural that more stress is
added to the situation, as Abigail Hobbs comes back into play this episode,
leading the main narrative trope. Much like Graham, she too is being haunted by
the past, her father’s murder victims and her very own. As a cathartic process
and wanting to tell her side of the story, she contacts Freddie Loundes and
both decide to write a book on Hobb’s life, her version of the truth. Naturally
Graham and Lecter are extremely concerned about this, forewarning of the door
it will open and the ensuing consequences.
Another way in which Hobbs deals with
her un-dead daemons is by confronting them, on her own terms. She digs up
Nicolas Boyle, the man whom she murdered and Lecter helped cover up. In doing
so, the FBI come across the body and bring Hobbs in for questioning,
resultant from Jack Crawford’s increasing suspicions of her involvement with
the murder and her father’s murders. Throughout questioning, Hobbs inadvertently
adheres to said suspicions - she also raises new ones regarding the actions of Lecter.
These suspicions are confirmed elsewhere, as in a somewhat mid-madness epiphany Graham realises the truth - that Hobbs murdered Boyle. Graham visits Lecter to share this realisation only to discover that Lecter not only knew all along, but also helped cover it up. It's a shocking revelation for Graham, undoubtedly causing hurt and confusion from a friendship that has seemingly consisted of honesty and vulnerability - if Lecter can hide this,
what else is he hiding? Nevertheless, Lecter persuades Graham to keep it a
secret – as Hobb’s adopted, protective fathers they have a duty to look after
her and her future, which means keeping Crawford and the FBI out of this
revelation. Okay, swearing Graham to secrecy is no doubt motivated by Lecter’s
wishes to save himself from unwanted investigation, but there is also a true
sense that Lecter does care about Hobbs and Graham – all three share an
intertwining relationship bound in trauma and secrecy.
Lecter and Hobbs get
even closer when she reveals she did play a role in her father’s murders by
luring the girls in and befriending them – not a startling revelation but one
that no less enforces sympathy. In a somewhat “it was them or me” explanation,
she is evidently remorseful and furrows in Lecter’s arms, who promises to
protect her from anything monstrous. The ironic beauty is of course being that
Lecter is a monster, a dangerous one - with charm, deception, manipulation and worst of all... a heart.
This week comprised of strong performances to carry an incredibly important narrative development; the relationship between Hobbs,
Lecter and an increasingly unstable Graham. Whereas previous episodes have
wonderfully managed to balance this character driven approach with a crime
scene of enigmatic quality, this week’s totem pole affair felt forced,
convoluted and unnecessary. I can’t say the episode would have been stronger
without it, nor can I deny that visually, it was creative; however, it pains me
to say that something was lacking this week. Trou Normand is a dish not bad enough to be sent back to the kitchen, but disappointing enough to conclude that the menu
has had better offerings.
What were your thoughts on this week's episode? Do you agree? Post a comment!
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