Tag Archives: The Prince Charles Cinema

Double bill: Manhunter (1986) & The Silence of the Lambs (1991) or livewithfilm enjoys its electro pop with a nice Chianti…

23 Oct

Potentially serving as the darkest double bill livewithfilm has yet to endure, the earliest incarnations of the Lecktor/Lecter tales remain surprisingly dissimilar and fuel fear in entirely different ways. While the violent aging of Michael Mann’s Manhunter has done it no favours (synth drum solos anyone?) it still can sit contentedly next to Jonathan Demme’s Academy busting Silence, perhaps even surpassing its younger sibling. Depending on how many sunsets and short-shorts one can stomach, Manhunter’s stylised yet realistic vision is truly skin-crawling and often surpasses the frequently bogeyman-esque horrors of Silence.

Alluding to previous battles with a one Hannibal Lecktor (Brian Cox), Manhunter sees psychologically fragile cop Will Graham (William Petersen) called back into the force to hunt down serial killer ‘The Toothfairy’. Entering into the murderer’s mindset, Graham risks insanity as he hunts his latest prey. Silence sees Lecter (here, Anthony Hopkins) consulted once again as trainee FBI agent Clarice Starling (Jodie Foster) hunts down a killer who skins his victims. Entering into a pact with Lecter, Starling is forced to confide deep secrets to the cannibal.

Both Cox and Hopkins excel as Lecktor and Lecter respectively, demonstrating different interpretations of the same maniacal character; yet, somewhat controversially, Cox’s remains superior. Hinting at the brutal genius of Lecktor, Manhunter teases a more chilling glimpse of insanity out of the villain. While Hopkins tears around his Perspex cage, Silence nearly explains him away, revealing all that Manhunter so eerily suggests. Hopkins is enthrallingly unnerving but remains in a film that could do with implying as much as it reveals.

Manhunter’s ‘monster’ is similarly more effective. A terrifying presence, Dollarhyde (Tom Noonan) is compellingly fleshed out, far more so than the at times Leatherface-styled Jame Gumb (Ted Lavine). When matching Gumb with Clarice however, Silence brings to the fore an intriguing gender-morphing dynamic implied throughout both films.

While it looks like livewithfilm has gone out to damn The Silence of the Lambs, this blogger agrees that the film is a classic piece of horror. Just don’t write off its earlier, and vastly underrated, predecessor.

With music like this over the closing sequence who could deny Manhunter’s classic status?: http://www.youtube.com/watch?v=wBWSocJMChA


Bonnie and Clyde (1967) or forces conspire against livewithfilm…

15 May

Yes, it has been a little while coming but today’s livewithfilm post serves as a retort to the many reasons this blogger might have to just stop writing. While livewithfilm will never become sickened by the sight of celluloid (hooray for sibilance!), after gaining a job at a magazine, there is questionable logic in sitting at a computer to blog after spending my working day doing the same. Nevertheless, when film’s like Bonnie and Clyde tear in, tommy-guns blazing, there is little livewithfilm can do but write away. As Henry Newbolt would say: blog up! blog up! and livewithfilm!

Seductively meeting eyes across an attempted car theft, Bonnie Parker (Faye Dunaway) and Clyde Barrow (Warren Beatty) become immediately and irreversibly reliant upon one another. Drawn into a series of dangerous bank robberies, Bonnie and Clyde grow in infamy and develop their fame acrossAmerica. Forming the Barrow Gang, the group continue to confront the banks that they despise with increasing vehemence.

Watched in the happy surroundings of The Prince Charles Cinema, Arthur Penn’s film was a thrilling and often emotionally devastating ride. The movie clearly owes a debt to the kinetic visual graces of the French New Wave, even without the directing styles of Truffaut and Godard who were both linked to direct the project before Penn.Perhaps as a result of the influence the film had over the pop art scene subsequent to its release, Bonnie and Clyde constantly provides iconic visuals that fill the screen and demand your attention. Just as the bank robbing duo become dependant on the fame that surrounds them, Penn never lets a scene depart without insisting on your attention with an arresting image. Dunaway and Beatty create an arresting couple and the relationship they depict is touchingly heartfelt next to the ever escalating violence. Even though livewithfilm knew exactly what was coming, it left the cinema with a lump in its throat, touched by a beautifully crafted parade of characters. Bonnie and Clyde remains a surprisingly timely depiction of bank-bashing-en-masse that is ripe for rediscovery in the current world of celebrity highs and poverty lows.