THE RELUCTANT FILM CRITIC’S CORNER

Movie Review: “Manhunter” (1986)

This fall, Hannibal Lecter will be returning to theaters in “Red Dragon,” based on the novel by Thomas Harris (Also writer of “The Silence of the Lambs” and “Hannibal.”) However, film aficionados may not realize that a version of “Red Dragon” already exists. In 1986, maverick director Michael Mann wrote his own draft of the novel, then subsequently made the film, retitling it “Manhunter.” The new movie serves as a prequel to “Silence,” featuring a younger Dr. Lecter and no FBI agent Clarice Starling. I can kinda understand why the director didn’t keep the original title. All things being equal, the screenplay credit should read, “Based on the first half of Thomas Harris’ novel Red Dragon.” But it’s still more accurate than most adaptations of novels to celluloid, as well as a satisfying thriller flick, albeit a somewhat dated one.

“Manhunter,” like Red Dragon, centers around FBI agent Will Graham. He’s an expert in tracking down serial killers, and in mothballs since his last assignment. Along comes the “Tooth Fairy,” who preys on families using a lunar cycle. Every thirty days he serves up another blood-and-marrow smorgasbord. The FBI, having exhausted all other means of finding out who the crazy bastard is, come calling on ex-agent Graham. He’s reluctant to return to the job, but this is a movie so he gets over his reluctance fast.

Not only is this a movie, but it’s a Michael Mann movie. The cinematographer is Dante Spinotti, and Mann re-teams with him repeatedly in later films (He’s sort of Gordon Willis to Mann’s Francis Coppola.) Even at this early stage, the pair seem to have mastered the director’s signature “style”—reliance on atmosphere over dialogue, effective color compositions. While “Manhunter” was only his third feature, much of the technique one finds later in “Heat” and “The Insider” is clearly in evidence. Scenes between Graham and his wife are shot in cool blue tones. The effect is as tranquil as the ocean waves lapping up the surf in the background. By contrast, the “Tooth Fairy’s” scenes are bathed in a stark, primary red. While it’s an obvious visual metaphor—I mean, the guy does to refer to himself as the Red Dragon—the color contrasts also remind us of what Graham is compelled to sacrifice. He trades in what peace he has, domestic bliss and inner tranquility, to return to a nightmarish world of unspeakable evil.

I’ve read other reviews of this movie which call it “superior to ‘Silence of the Lambs.’” Boy, I can’t agree with that. Jonathan Demme’s 1991 film, which starred Jodie Foster and Anthony Hopkins, seems to get better every time I see it. “Manhunter,” on the other hand, suffers from Mann’s tendency for what appears to be “cool” at the moment. There’s more 80’s synthesizer music than I’m capable of enduring (This is also the case of “Heat,” which won’t help that movie over time, either.) And there’s another moment where a song blasted up from the speakers, and instead of pulling me in, it completely distracted me. Instead of watching the movie, I sat there thinking, “Who is that, Huey Lewis?”

The performances, meanwhile, are mixed. A relative unknown named William Peterson did a really good job as agent Graham. The infamous Dr. Hannibal Lecter is played by another British actor named Brian Cox. While the spectre of Anthony Hopkins will forever hang over Hannibal Lecter, that’s partially because the character had much more to do in “Silence” than he does in “Red Dragon.” But Cox does a good job with the material at hand. His Lecter is neither better, nor worse than Hopkins.’ It’s Cox’ own, and it would be interesting to know if the stage vet who did “Silence” had even been aware of his predecessor. Incidentally, one shouldn’t pity Cox for missing the proverbial boat by not revisiting the character in “Silence.” While he’s been toiling in obscurity for most of the 80’s and 90’s, Cox recently had key roles in “The Boxer” and “Rushmore.” He’ll be appearing next as the key villain in the sequel to “X-Men,” getting a role that, ironically, was supposed to have been written for Hopkins.

Other roles in “Manhunter” include “Brazil” dream girl Kim Greist as Graham’s wife Molly. Unlike the novel, where the character had to bear the psychological brunt of Graham’s return to his calling, this Molly doesn’t have much else to do outside of answering the phone and undressing. The “Tooth Fairy” himself is played by Tom Noonan, who looks like a tall, gaunt boogeyman with John Malkovich’s voice. He isn’t much scarier than the “Jame Gumb” psycho Clarice Starling had to take down. Finally, the “Tooth Fairy’s” blind and unsuspecting girlfriend is played by a then-unknown Joan Allen. She seems embarrassed and confused, and well she should since the character is one-note and set up to be a requisite “girl in danger.”

Unfortunately, by simplifying her, Mann completely excises one of the major conflicts of the novel. He forgoes the psychological tug-of-war between the serial killer, the blind woman who actually loves him, and the “Red Dragon” whom he imagines speaking to him. Perhaps the director wanted to concentrate strictly on the procedural aspects of tracking down the “Tooth Fairy.” However, by sticking to the FBI’s side of the investigation, the killer is reduced to just another Michael Myers type.

Luckily, the flaws don’t bring the film down until well toward the end. By then, what transpires is well-crafted, taut, and at times approaching awesome. Given how prolific dumbed-down, teenage slasher flicks were during the eighties, it’s understandable that a film like “Manhunter,” with its superficial similarities, could’ve easily been buried under all those mounds of barely-watchable garbage. But today the film has more appeal than ever. Michael Mann has had some major critical hits, including “Heat,” “The Insider,” and “The Last of the Mohicans.” Fans of his work will likely enjoy this one. Then there are all the Lecter fanatics who, while they may be initially disappointed that Sir Anthony hadn’t been cast at the time, can at least whet their appetites ‘til Brett Ratner’s remake comes out in a few months. Last but not least, this is for anyone who sat through “The Silence of the Lambs” then asked “Are there any other really well-made FBI procedural flicks out there?” This is such a one, and it will probably satisfy them way more than “Hannibal” did.

“Manhunter” is style with some substance to it. It doesn’t have the “quick dollar” feel that “Hannibal” had, and even if it adapts just the first half of a really fine novel, well, it’s a really good first half.