A woman’s bare breasts are shown in a close-up very briefly, in a flashback.
A man exposes the top two thirds of his bare buttocks.
A man is seen strapped to a chair, wearing close-fitting underwear, but no male nudity is shown.
In the opening credits and completely without purpose an old black and white drawing of a nude woman is shown.
Rape and necrophilia are discussed and implied throughout.
Moderate
shirtless man
A man and woman kiss.
A man runs through a house nude and we see his bare buttocks. We also briefly see his genitals, partially obscured in shadow, even though the exposed breasts referenced above are not “partially obscured in shadow.”
A man and a woman hug and kiss, and another man and a woman kiss romantically. A woman puts her hand on a man’s crotch. Sex is implied, but not seen.

Francis and Reba have sex, but it is not seen, only implied.
Francis and Reba kiss.


Film review:Translated by www.rabudo-ru.com


“If you have imagination, let it gallop freely; if you don’t, please stop. This book is not written for you!”

This sentence can be a yardstick. Before our brain can indulge in wonderful stories, we first measure the hearts that are full or dry, and also provide notes for different readers’ different feelings. However, the author is not only interested in this slightly cunning sentence. Stephen’s insistence on his works is “fear” rather than the “excuse” of “horror” novels makes me ponder. However, if you want to distinguish between the two, it’s really a waste of energy. It’s better to take advantage of the convenience of analyzing film works and inadvertently open up!

Hitchcock once said that “the real horror comes from the imagination of the audience, not from what is shown on the screen”. The silent lamb has made dizzy artistic achievements by resolutely adhering to the master’s teachings. Moreover, the greater contribution of the film is to open up a road of change for an ancient genre film and achieve an acting genius Anthony Hopkins. Different from the singleness of similar roles in the past, the ogre image created by Anthony has a unique charm that is both breathtaking and intoxicating.

Whenever a film is managed as a brand, it is bound to be destroyed. Moreover, Hannibal has separated from the film and become a cultural phenomenon alone. It is for this reason that the creator’s act of developing the prequel of the sequel has become justifiable. It not only covers the pungent copper smell, but also can be wrapped with a magnificent coat to continue the artistic life.

In the whole ogre series, the story of the structure of red dragon happened the earliest, but it was launched the latest. Different from Hannibal’s free rein, the narrative skills and artistic style pursued by the red dragon are closer to the “lead without hair” loved by the silent lamb. The first reason is that as the forefront of the ogre series, the red dragon bears the important task of leading the development of the whole story, and the spirit of sticking to the original also limits the exertion of the creator’s imagination. Secondly, Brett Rattner understands from the criticism of Hannibal that the mere expression of sensory terror is not worth the loss, and the silent but surging fear is the essence of thrillers. Therefore, it is a good choice to return to the techniques successfully used in the silent lamb.

However, not all battles in the right direction are bound to win. Similarly, a film with a luxurious cast and first-class creativity may fail due to improper handling of some inconspicuous details. Contrary to Hannibal’s “indulgence”, the red dragon seems to be bound by too many rules, which makes many original inspirational passages clumsy and in turn restricts the development of the story. Finally, let the fear atmosphere accumulated slowly drift away.

In the original novel, Professor Hannibal Lecter is presented as a sideline, and his role in the whole story is to put the needle through the needle. It is natural for the film to reproduce the author’s intention truly and accurately. But this seems to be the least problematic place, but it is difficult for the film creators. Because “the red dragon” has an excellent “biography”, Professor Hannibal, who was originally an assistant, was able to “enter the house” and became the most unshakable soul character in the full set of Ogre films. How to give Professor Hannibal enough performance space to satisfy the audience’s preferences, while avoiding the main line of the story from falling into embarrassing chicken ribs, is almost an unsolvable problem. The director’s looking left and right in the film gives a rather moderate answer to this proposition.

The red dragon leads the story with Professor Hannibal’s arrest as the background. The two protagonists completed their first screen “diagonal” in less than three minutes. This is undoubtedly a very “compromise” approach, because the promotion of the story subject can not afford too long time to render the thrill of pursuit. Therefore, the suspense that could have been created was completely buried by the character’s rush to battle. Not only that, because the protagonists met too early, the prison play painstakingly created by the director in the second half of the film lost enough dramatic tension and became boring. It can be said that this is a mixed beginning.

The main part of the story begins with the pursuit of a perverted maniac nicknamed “tooth fairy”. In order to get rid of the dilemma, police officer will had to consult Professor Hannibal who was in prison several times. The scenes of two enemies should have been the most brilliant part of the film. But in fact, it just cloned the skin of the silent lamb, and couldn’t touch its essence at all. The straightforward opening line of the film “finally” shows its “extraordinary” value here. Because of the loss of suspense, the director’s desperately arranged atmosphere is somewhat funny. It can be seen that the director made a plagiarism of the tribute to the silent lamb. The advancement of the picture in the lens, the evasion between the characters and the sharp dialogue, and even the arrangement of props and sound effects are surprisingly consistent with the silent lamb. However, no matter how hard we try, “red dragon” can’t reproduce the suffocating atmosphere of “silent lamb”, but has caused an embarrassing effect of “wedding candles don’t fall red”.

The most fundamental reason is that there is too much difference in the ability of the two works to engage story clues. Although they all use the same kind of packaging, it is not enough to hide the difference in artistic level between the two. The main line of the silent lamb is also the story of pursuit and rescue, but it can be closely attached to the sub line of Hannibal. The two are inseparable. The relationship between Clarice and Hannibal is far more complex than will and has a kind of Psychedelic ambiguity. There is only hatred and resentment between the latter and the ogre. Lack of direct communication and tacit understanding. This limitation is shown on the screen that everyone’s performance is very excellent, but the communication between roles is always mutually exclusive. Therefore, you will find that although Hopkins’s performance in red dragon has reached a state of perfection, it still can’t give you the thrill. That’s because no matter how wonderful the interpretation is, it can’t exist alone without the story itself. He needs an opponent who dispels and gives back his performance. Red dragon did not set up such an “audience” for its success, so it finally achieved its self-centered “wonderful performance”.

At the same time, if Hannibal’s part is completely deleted from the red dragon, the whole film can still “stand”. The root of this phenomenon is that will’s detection in the film completely “escaped” Hannibal’s control. It can even be said that without the deliberate misleading and murder of the latter, the confrontation between will and the tooth fairy would be much smoother. But the same situation is almost unimaginable in the silent lamb. Clarice’s tracking of bison bill was precisely pointed out by Hannibal from the beginning. The psychological test interspersed with reciprocation not only guided Clarice to find the right path, but also finally let her get rid of the psychological shadow deposited for many years. The ogre in the silent lamb is a master of the game, and all the other characters are chess pieces played by him. He can indirectly participate in the situation and accurately control the results. However, the same character in the red dragon is reduced to a “trapped beast” imprisoned in a cage. He does nothing except make a few meaningless screams and set up one or two small traps.

The cast of “red dragon” is so luxurious that it makes people dizzy. Any actor can be a powerful faction that can be independent. But the director obviously lacks the ability to bring them together. The film has “dedicated” too many excellent personal performances for us, but there are few wonderful opponents. This fatal defect makes the director’s painstaking fear effect often diluted by careless confrontation. The final real impact on the hearts of the audience is not the thrill that can solidify the blood shown in the silent lamb, but the naked blood and fighting loved by Hannibal.

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