Retro Film Review: Manhunter (1986)

Retro Film Review: Manhunter (1986) | Ecency

(source: tmdb.org)

The Silence of the Lambs is one of the most influential films of 1990s. Its influence can be seen not only in multitudes of other Hollywood films dealing with the morbidly fascinating subject of serial killers (including two of its own sequels - Hannibal and Red Dragon). Its influence also helped its 1986 predecessor, Michael Mann's Manhunter, to receive something of a cult status only five years after flopping at American box office.

The plot of the film is based on Thomas Harris' novel Red Dragon (adapted for screen again in 2002, which resulted in rather bland and pointless remake), these days best known for introducing the legendary character of Dr. Hannibal Lecter, psychiatrist who became cannibalistic serial killer and one of the most recognisable pop culture icons of our times. In this film this character is known as Dr. Hannibal Lecktor (played by Brian Cox) and represents nothing than a bad memory for retired FBI profiler Will Graham (played by William Petersen). Graham was once top FBI expert for hunting serial killers, due to his ability to think like them, understand their motives and desires and thus get clues about their identity. But he paid too heavy price for capturing his last and biggest prize - Lecktor – and had to leave FBI after recovering from physical and psychological injuries. His old FBI boss Jack Crawford (played by Dennis Farina) wants to use his abilities again, this time in the case of killer who preys on families every full moon. Graham reluctantly agrees and, in order to get his mind back on track, visits his old nemesis in insane asylum and ask for his expertise. For Lecktor this represents excellent opportunity for a deadly mind game and he uses all of his ingenuity to manipulate the killer against Graham and his family. While ex-FBI agent travels across country in search of clues, Francis Dollarhyde (played by Tom Noonan), the killer, might have second thoughts about continuing his murderous campaign after the encounter with his blind and charming co-worker Reba McCLane (played by Joan Allen).

The very first shots in Manhunter give away its author's identity. Like in his cult TV show Miami Vice, Michael Mann has created sharp contrast between luxury, style and beauty that surround the protagonists from the outside and depression, despair and doubts that haunt them from the inside. Dante Spinotti captures this contrast perfectly, with few beautiful shots dominated by single colour - Graham's blue bedroom, Lecktor's white cell and dark surroundings of the killer's house. But the contrast is even sharper due to excellent acting performances. William Petersen is excellent in the role of a protagonist tortured by endless contradictions - his Graham must empathise with killers while trying to distance himself from their crimes; he also must try to find perfect balance between doing his job and protecting family. Petersen is great, especially in the scene where he has to explain his troubled past to son Kevin. Brian Cox appears relatively briefly as the first incarnation of the world's best known villain – his appearance is short, but chillingly effective because it lacks some of the self-parodying elements of Hopkins' performances in next three films. The more charismatic villain is played by Tom Noonan, who displays excellent combination of childlike innocence and calculated evil.

Mann paces film very slowly, insisting on atmosphere and characters to tell the real story. Just like The Silence of the Lambs, most of the violence happens off-screen, but Mann's approach makes those scenes equally stomach-churning. One of the best examples could be seen in the scene where Graham visits the crime scenes, observes traces of blood and tries to reconstruct the crime by making clinical observations. In doing so, he not only creates horrific images in our head, but also helps us imagine the killer and his motivations; when the killer appears half way in the film, the audience has some idea about his looks, identity, modus operandi and motives.

Manhunter could have been even better. This indirect approach to portraying ultimate evil is compromised at the end, when Mann resorts to cliched gunfight finale. This scene is poorly directed and at times confusing, but in some way better and more convincing to equally cliched ending in the book (and later used in Rattner's 2002 version). Another big flaw of Manhunter is variable quality of music - in some scenes it adds the atmosphere; in others it sounds like 1980s pop artificially added to otherwise serious and compelling film. Yet, the strength of acting performances and the director with great sense of style turn Manhunter into engaging, thought- provoking and entertaining film that deserved its cult status.

RATING: 8/10 (+++)

(Note: The text in its original form was posted in Usenet newsgroup rec.arts.movies.reviews on February 10th 2003)