Silence Of The Lambs

Silence Of The Lambs

  • Type of paperBook/Movie Review
  • SubjectEnglish
  • Number of pages3
  • Format of citationMLA
  • Number of cited resources2
  • Type of serviceWriting from scratch

Must watch the movie ″Silence of the Lambs″ to complete assignment. The full list of instructions are listed in the attached document.


The Silence of the Lambs

Based on Thomas Harris’s best-selling novel of the same title, the movie, The Silence of the Lambs features the star Jodie Foster selected to assist on a serial murder case (Harris, 1988). The movie is a story of a young FBI trainee Clarice Starling (Jodie Foster) who is sent to interview an imprisoned serial killer Dr. Hannibal Lecter (Antony Hopkins) in his glass lockup cell, to ratify if he may be broken, convinced, teased, or even fascinated into helping the FBI agency in tracking down yet another psychotic killer and suspect nicknamed as Buffalo Bill believed to be at large.

Buffalo Bill is well renowned for his fondness for brutalizing and peeling his victims’ skin off their bodies. Besides, there exists an approach to his kind of madness, which tend to escape the agency’s grasp. However, there is just a single expert equipped with substantial experience and background in tracking down the serial killer with a substantiated clue to lead the trap into the right trail. However, the expert is held in a maximum security and no longer can he access his usefulness. He is Dr. Hannibal Lecter, also called, The Cannibal, whose nickname and identifications are sadly justified and warranted (Jancovich, 2001).

With the justification, Clarice makes a truce with the devil himself, regardless of her superior’s Scott Glenn, strong caution, and warning. The young FBI agent discloses certain confidential information to The Cannibal Lecter in exchange for his intuition into Buffalo’s psychological summary and profile, as well as the agency’s records urgently random murder method. To Dr. Lecter’s superior irrational insights, though, urgently random is of no random at any instance. He swiftly discloses an accurate killing outline and pattern to the enthusiastic agent, Clarice. However, for his profile, Clarice is treading into paying such a costly price. Dr. Lecter has detailed into Clarice’s head and confirms diabolical expertise is overshadowing even behind closed bars and bulletproof glass (Jancovich, 2001). Nevertheless, Clarice’s interview was to tap him just because she is to his preference, should Lecter ever escape. Dr. Lecter agrees to help the agent, in exchange, of course, for being allowed to psychoanalyze her, pay attention to her most close fears and memories.

It becomes very unfortunate that Bill’s most recent prisoner-victim was Catherine (Brooke Smith), the US senator’s daughter. The story takes an intense and excellent narrative setup steering that Dr. Lecter’s proficiency is now at a state where he has to be handled as a type of VIP prisoner and taken to another holding, Memphis Security, enabling the exploration of those strange handcuffs and masks. But the question still remains, how exactly did he reach Chilton’s sketchily careless cage, remove the innermost end, kept it in his mouth until the time he knew he would use it to unlock his handcuffs? The move appeared to have an intensely designed fault which in turn gave Lecter nearly an outstanding advantage over his foes.

It was such a strange move for the senator to make her TV program announcement to Buffalo Bill, more often using her daughter’s name and unveiling her old pictures of her as a little kid, in the urge of making the killer feel remorseful and consider her child as a human being. As much as certain onlookers may regard the move as smart in proving a psychologically refined tactic, it was awful and unfocused and did little or no difference to her daughter’s kidnapper. The rational emanated from the fact that there exists no point or instance where Bill sees the TV program and therefore the utter disappointment of this smart tactic is never mentioned on.

            Silence is evidently dead-out repetitive especially on such occasions where the prey and predator exchanges between the crafty sequential murderer and the gutty FBI agent trainee. During Dr. Jonathan Demme’s surgery, we get the chance to explore Lecter’s skull and, through his disgraceful origin, we get to realize how evil of a person he really is. With the help of camera firmly installed on the small area from Hopkins’ eyebrows, to the pointy chin, to bulbous ears, Demme’s installation is affiliated to that of watching a close-up of a bug. Very fortunately, these scenes seem to overwhelm further as Bill’s plot is also minimized by a simplistic third turn. And yet, of course, there was Hannibal and Clarice relationship, where he undeclared his love for his opponent. The open nature of Hannibal’s fortune miserably left effects open for an upsetting grant series, when his last call and psycho-Pimpernel vanishing prior to the end recognitions was the best way to curtain down the movie (Jancovich, 2001).

However, scriptwriter, Ted Tally, has tattered a stretched, fascinating psychological thriller movie. The movie amazingly refined the movie’s production with strands of a sense of humor as well as disappointing our reality and making us perceive at daily activities and actions in a far distinct light. Hopkins’ performance is enormously superb and frightening and that should reward him in future nominations. Holding her own against Hopkins’ style is Foster as the stubborn, slow but sure trainee.


Harris, Thomas. “The silence of the lambs. New York: St.” Martin’s (1988).

Jancovich, Mark. “Genre and the audience: Genre classifications and cultural distinctions in the mediation of The Silence of the Lambs.” Hollywood spectatorship: Changing perceptions of cinema audiences (2001): 33-45.