“the very air has screams”: HANNIBAL Season 1 Episode 10 (Fuller, 2013)

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Be honest: do you still wonder, perhaps late at night, if there is someone/something under your bed? This episode is called “Buffet Froid” (cold buffet) and starts with a young woman returning to her home on a cold, dark night, wisely ignoring rattling noises in her shed and heading inside, but we know from the statue outside that things aren’t going to go well.

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She tucks herself into bed but then hears water dripping through her ceiling. She heads up the dark, musty stairs to the attic to investigate – a big lump of her roof is missing. She staples plastic over the hole, but we’re outside, and we can see footprints. When she gets back to her room, she sees puddles, perhaps footprints, and as she reaches her bed, she is dragged underneath it and killed.

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Meanwhile, Will is getting more and more unstable. He draws a clock for Hannibal (a simple test for neurological problems). It looks fine to him. But to Hannibal:

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He goes fishing and cuts up the fish which bleeds profusely, like a human, and suddenly he is at the crime scene where the woman was killed, and he seems to be the killer. He rushes from the room, covered in blood, having contaminated the crime scene.

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Now even Jack is concerned. Officially. Hannibal offers to refer Will to a Neurologist, but says if there is no physiological cause found, he will have to accept a diagnosis of mental illness. Which is precisely where Hannibal is steering him. Hannibal accompanies Will to the Neurologist, Dr Sutcliffe (John Benjamin Hickey), but while Will is having a brain scan, Hannibal tells Sutcliffe that Will has encephalitis. How does he know? He says he smelt it.

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The scan shows massive inflammation on Will’s brain, but Hannibal persuades Sutcliffe to say there is nothing wrong, so that they can study Will’s response. For the good of science, of course.

But Hannibal’s plans don’t only require Will to think he is going insane – Jack needs persuading too. Hannibal tells him about the Neurological examination over a post-dinner brandy, then has a fascinating exchange about how Will’s empathy – his “mirror neurons” – make him vulnerable.

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Hannibal and Sutcliffe (they were at Hopkins together – presumably Johns rather than Anthony) meet for dinner and discuss a rare and expensive form of pork – jamon iberico. We learn that Hannibal loves his treats: the more expensive and difficult to obtain they are, the better. They decide that, if the eater decides the meat is superior, then belief determines value. “A case of psychology overriding neurology” points out Hannibal. This banter of course is really about Will Graham. What makes Will rare enough for Hannibal to care about?

So they have set his mind on fire, but when will they put it out? “Will is my friend” says Hannibal. He’ll put it out when it’s necessary.

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But Sutcliffe is running more tests on Will, which is not part of Hannibal’s plan. As Will comes out of the scanner, he finds the room deserted. Sutcliffe is very dead: he has had his face peeled back, like the woman at the start of the episode, and of course everyone assumes it is the same killer, the one under the bed, Georgia Madchen (Ellen Muth).

That night, as Will sleeps fitfully, his multiple stray dogs start to bark and growl. He realises Madchen is back – under his bed.

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He persuades her that she is alive, and not alone. She comes in for treatment. How much, Jack wants to know, will she remember?

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Although she has a disease in which she cannot see faces, she has witnessed Hannibal kill Sutcliffe and then hand her the scissors.

Remembering would be dangerous.

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Cannibal Cheesecake: “Emanuelle and the Last Cannibals”, (D’Amato, 1977)

Joe D’Amato (real name Aristide Massaccesi) was nothing if not prolific, directing some 200 films from 1972-99. These covered a multitude of genres from westerns to war, comedy to fantasy, but he is best known for his horror, erotic and adult films. His first softcore movie was Emanuelle’s Revenge in 1975, followed by his work on five of the six “Black Emanuelle” movies starring Laura Gemser as a globe-trotting journalist who gets into all sorts of merry scrapes, usually involving violence, horror and rape. They were based around the French Emmanuelle movies, with one “m” removed from the title to avoid copyright problems.

D’Amato’s first Emanuelle movie, Emanuelle’s Revenge (1975), was with German actress Rosemarie Lindt as Emanuelle and George Eastman as Carlo, whose role as a murderous monster with a machete prefigured his later role in D’Amato’s Antropophagus (1980). Both these movies deserve a mention in this blog, since the first has Carlo fantasising about cannibalism while under the influence of LSD, while the second has a demented cannibal who actually eats his own intestines (all right, don’t believe me). We’ll get to them – maybe.

Emanuelle and the Cannibals was the fifth of the Black Emanuelle films; the fourth that D’Amato directed. The porn level is a great deal lower than the others in the series (Emanuelle in America for example had a naked woman masturbating a horse), but this had something better: cannibalism! Who needs horses?

The film starts with a claim to be a true story, which was the thing in those days.

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Emanuelle is in an asylum in New York, in which women do crazy things (just like they do in Suddenly Last Summer, so it must be true). Mostly they just talk to themselves and carry dolls, and Emanuelle is “embedded” as they say – an investigative journalist from the Evening Post, cleverly disguised as a doll-carrying crazy. The boss doctor (a cameo by the Director) tells her she will cause a scandal if discovered, and his price if she wants to come back and do it all again will be double.

Meanwhile, one particular crazy is busy biting off and eating a nurse’s breast, which Emanuelle finds fascinating. The staff say she is a “complete savage” and she snarls and snaps at them, but is quickly tamed by Emanuelle, who introduces herself with some hand gestures (between the girl’s legs).

Emanuelle’s editor is fascinated by the story of the cannibal and even asks how the nurse is. Emanuelle answers “she asked for it. She’s well known for her homosexual inclinations.” Well, that’s OK then. Emanuelle has taken photos of the girl with her gown hoisted up, and after studying them extensively, they raise their eyes high enough to notice a huge tattoo “above her pubic region” (I’m not sure if the dialogue really is this bad or if it is the poor translation used for the dubbing). It’s an Aztec symbol – from the Tupinambas according to the newspaper’s resident nerd (do you remember when newspapers could afford to employ nerds?). The Tupinamba were everyone’s favourite Brazilian cannibals since Hans Staden was captured by them and claimed to have witnessed their cannibalistic rituals in the sixteenth century. Fortunately, the Portuguese came to save them from their sins, and through enslavement, assimilation, extermination and the introduction of Smallpox, managed to wipe them out completely.

But not in this movie. Emanuelle goes to the Natural History Museum to meet up with the “famous anthropologist” Mark Lester (Gabriele Tinti, who was Gemser’s real-life husband). He takes her to lunch, to his house to look at films of Tanzanian ritual cannibals cutting off heads, penises and what have you from a pair of adulterers, and then to bed. She takes him to the Amazon. Fair exchange.

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now you know how to say “it’s about cannibalism” and “you’re crazy” in Swedish

Before leaving, the movie treats us to scenes of New York traffic and several gratuitous sex scenes including one with Emanuelle’s steady boyfriend, who seems to be able to make sweet sweet love while still wearing skin-tight jeans. And lots of close-ups of Gemser.

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On the plane, they smoke (!) and discuss anthropology and history, appropriate since it’s a Pan Am flight.

Why are there still cannibals? asks Emanuelle. He tells her about political cannibalism like Idi Amin, or “tolerated” cannibalism like the Andes plane crash survivors. But in the Amazon, they live by their own rules, and may eat human flesh for ritual purposes, or because they are peckish. Lucky she brought along an anthropologist.

They interview the dude who found the cannibal girl, and he says he has lived among the Amazonian tribes for 25 years and only come across two cases of cannibalism, which were quickly hushed up by the government. He has a daughter, Isabelle (Mónica Zanchi) who has grown up since she last saw Lester and lusts after him, and she spies on Lester and Emanuelle as they go through the same motions, and the same soundtrack, as the New York sex scenes, while Isabelle masturbates outside. Now that’s the sort of thing that you’d expect to cause a lot more problems than extinct cannibals.

Isabelle is taking supplies to a Missionary down the river who knows all there is to know about the “savages” as they call them, and a Nun and two Indians are going with them (definitely redshirts). The Nun tells them that superstition is still strong in the jungle, and there are still witch-doctors curing people with herbs! Oh, the horror. She does admit that the herbs work, so much so that the mission has appropriated (sorry, adopted) many of the concoctions.

There is a totally superfluous scene where Emanuelle and Isabelle are in the river washing each other (mostly concentrating on each other’s breasts, which I guess must get grimy on the river) and being watched by a chimp, who smokes their cigarettes and tries on their sunglasses. Of the three actors in the scene, the chimp seems to be portrayed as the most intelligent. They meet up with some adventurers, Donald and Maggie, who tell them that the Mission was attacked by savages and everyone massacred. Donald saves Emanuelle from a snake, and she asks him what he is doing in the jungle.

“Hunting. Hunting is my life. I’ve sacrificed a lot to satisfy my craving for – hunting…. The satisfaction of catching it. And to kill! … you have to share risks with the animals. Man too can be hunted.”

And what’s Maggie doing there? Well, she’s doing the African cook, Salvador. And no one seems to wonder what the hell he’s doing there in the middle of the Amazon basin. Donald catches them hard at it in the jungle, but it doesn’t become much of a thing, because they have their own agenda – searching for a crashed plane full of diamonds. When the others decide to go back, they find one of the redshirts cut up, cannibal style, and their boats missing.

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They try to head back down the river on foot, but on the way find a Bible, and Father Morales from the Mission to which they had been heading.

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So, we all know what happens next. This is a cannibal film after all. The Nun disappears and – well, we know from the very start of the movie which part of the body is the favourite of these particular cannibals. They also like intestines. And we get to see it all happen.

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The expeditionaries find the Nun (or some of her), and it just gets worse from there. Donald and Maggie find the plane and the diamonds, pause for a celebratory quickie, and are attacked by the cannibals. Donald forgets to duck and the savages take Maggie, and the diamonds. Our few remaining heroes find the village and the villagers, who are about to sacrifice Maggie to the Goddess of Fertility. We know this because we have an anthropologist along. After that, they put a wire around Donald’s midriff, and have a tug of war.

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Donald’s quick weight-loss diet

Isabelle is drugged and naked, but they want to sacrifice a pregnant girl to the river gods, and she’s not pregnant – yet. Cue a rather morose gang rape, led by the Shaman, where the rapists all seem bashful – doing it in front of a crowd I guess?

When everybody has had a turn at poor Isabelle, Emanuelle comes up with an idea – she paints the tattoo found on the crazy girl onto her stomach and appears to the superstitious locals as their Goddess of the river. They hand over Isabelle and the two women dive into the river hand in hand, much to the rage of the hoodwinked cannibals, who pursue them in canoes. Luckily, Emanuelle is willing to do anything for a story, even shoot people, but she’s a bit sorry about the white people (and servants) they lost on the way, even remembering the names of the redshirts. But Mark sums it up, with typical anthropological moral relativity:

“Don’t take it badly, Emanuelle. It’s nobody’s fault.”

And nor, apparently, is cannibalism. Or colonialism. Or killing natives for following their rituals. Or making really bad movies.

Rottentomatoes.com has not bothered to gather the reviews of critics, but the viewers’ score is a miserable 26%, with a “Super Reviewer” pointing out that “The acting may be appalling, but it’s difficult to tell for sure because this is dubbed — badly.”

The Allmovie site summed it up:

“excruciating tedium punctuated by occasional kinky sex in the first half of the film and cheap, gag-inducing special effects in the second…
Too gory for softcore fans and too dull for gorehounds, this is basically a film with no target audience whatsoever.”

Perhaps the Director was making a subtle point with this scene where they are planning to eat some innocent creature from the jungle:

The full movie is available at https://www.youtube.com/watch?v=2oPfifnhGNo (dubbed into English, with Spanish subtitles!).

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“I know what monsters are”: HANNIBAL Season 1 Episode 9 (Fuller, 2013)

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This episode is named “TROU NORMAND”, which is a shot of liquor, usually Calvados, a potent apple liqueur from Normandy, served between courses of a particularly heavy meal. And yes, the first eight episodes of Season 1 were heavy going, and we know that the main course is yet to be served.

In this one, the FBI team are investigating a totem pole made of dead people in West Virginia. The bodies are carefully coiled together, making a puzzle for the investigators.

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Will does his reenactment, then blinks and suddenly he is in Hannibal’s waiting room. He knows then that he is in trouble – the sleepwalking, the hallucinations and now he’s disassociating, and losing time. He has just driven 3 ½ hours from the crime scene to Hannibal’s office with no memory of it at all. Oh yes, he’s a sick puppy. Hannibal’s diagnosis is interesting:

Hannibal also summarises why we care about people we know and usually don’t give a damn about anyone else:

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“What if you lose time and hurt yourself? Or someone else?” Hannibal is planting the seed. Will may be capable of – anything.

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Will apologises to Jack for disappearing from the crime scene, but Jack hasn’t noticed anything wrong. Is there something wrong? No, Will grins, everything’s fine. No problems.

Abigail Hobbes is also in trouble. She is having nightmares where her father tells her he killed all those girls (in the first episode) so he wouldn’t have to kill her. But her support group morphs into those very girls, all saying “he should have killed you, so he wouldn’t have killed me”.

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Then Freddie Lounds tells her that she is broke – the families of those girls are suing her father’s estate, and she won’t inherit a thing. She needs to write a book, with Freddie’s help of course. Will and Hannibal try to talk her out of it, but she wants to prove her innocence.

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Will is getting more and more unstable. He is lecturing on the totem pole murders, but it turns out he is addressing an empty lecture theatre. Alana finds him there, tells him she can’t get involved with him:

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Meanwhile, the FBI have found the body of the boy Abigail gutted and Hannibal helped her hide in episode 3. Jack wants to put her in the room to identify the corpse because he still suspects Abigail of the murder/s. Alana and Will are dead against causing her more trauma. Hannibal? Well, he is into growth and becoming, and for this he puts people in difficult positions:

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But Hannibal is putting his own pressure on Abigail. He tells her that he is concerned that her book, and her digging up the body, all put him in danger. He insists that he must be able to trust her. Will realises that she killed the boy, and Hannibal admits he knew, because he helped her hide the body. Is Will going to report them to Jack? Well, no, because Hannibal talks him out of it:

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Now Hannibal has Will where he wants him – legally compromised, lying to Jack, and a partner – at least in co-parenting.

Hannibal is putting on one of his fine feasts for – yes – Freddie Lounds, with Will and Abigail eating various bloody concoctions. But Freddie has thrown him, by announcing she is a vegetarian! Hannibal rises to the occasion and prepares the finest salad she has ever tasted. Despite Will’s aggressive sarcasm and Abigail’s defiance, Hannibal manages to get them to agree: we’re all doing this to protect Abigail.

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After dinner, Hannibal washes and Abigail dries, and she finally confesses that she did help her father – she would befriend girls that looked like her and find out where they lived, so that he would kill them, instead of her.

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Hannibal comforts her:

Now she is totally in his hegemonic care, Will is a co-conspirator and co-parent, and Hannibal has a friend, and a family.

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This is his design.

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“I see a possibility of friendship.” HANNIBAL Season 1 Episode 8 (Fuller, 2013)

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So we’re over the half-way point of Season 1, and Hannibal’s fascination with Will has gone from amused manipulation to a possibility of friendship, based on their similarities, made piquant by their differences. This episode is all about friends – lovable, edible or just annoying.

Last episode we met Tobias (Demore Barnes), a friend of Hannibal’s (probably) most annoying patient, Franklyn (Dan Fogler, from Fantastic Beasts). Tobias is teaching a kid violin and talking about superior strings. “Are they made of cat guts?” the kid wants to know. “Not always” answers Tobias, and we then see him making new strings for the orchestra. They are guts, but not from cats.

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Franklyn is trying to “be” Hannibal – he has googled “psychopaths” and wants to discuss whether Tobias is crazy. Whether he is a “psychopath”. Whether Franklyn himself is a psychopath. Hannibal tells Franklyn he is not a psychopath, although “you may be attracted to them.” He certainly likes Hannibal a lot. And Tobias. He wants them to be his friends.

The murder victim in this episode (Baltimore is such a dangerous place!) is the trombonist from the Baltimore Metropolitan Orchestra. The killer has jammed a cello down his throat and played him – created a sound – “my sound”.

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But why go to all that trouble? Franklyn tells Hannibal that Tobias had been talking about cutting someone’s throat and playing them like a violin – exactly what the FBI found. Will has a theory:

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Why would he tell Franklyn about it though?

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Hannibal goes to visit Tobias, talks about strings, composing or discovering music on his preferred instrument: the Theremin. With a little coded chat, they soon determine that they have a lot in common.

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Will wants to be (more than) friends with Alana – he kisses her, but she bolts. Tobias comes to dinner at Hannibal’s home, at which he admits he was going to kill Hannibal.

“Of course you were. I’m lean. Lean animals yield the toughest gut.”

Tobias says he changed his mind after following Hannibal to a bus depot, presumably the one referenced last episode (where the victim was cut in two and left sitting across the bus aisle from himself). He knows that Hannibal is the Ripper. Hannibal is not pleased. Tobias doesn’t care about being investigated by the FBI – he will just kill whoever they send to investigate him. Hannibal considers this reckless, and that’s not a term of praise, particularly when that might lead them back to Hannibal. But Tobias, of course, wants to be Hannibal’s friend. He wants a friend who understands him (and isn’t too fussed at the use of human body parts).

But Hannibal is not putting up with reckless friends, even if they have common hobbies.

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Tobias asks why, then, did Hannibal invite him for dinner?

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Now that is a great line.

They are on the verge of sorting it out with extreme prejudice when Will arrives seeking lonely hearts advice: “I kissed Alana!” Tobias beats it out of the window, and Will gets to eat the dessert he missed. He also gets to tell Hannibal about his latest symptoms – on top of sleepwalking and getting headaches, he is now hearing the cries of wounded animals – the latest was, he thought, in his chimney, which led to some drastic and unnecessary renovations. He admits to being “unstable.” Hannibal clearly decides he needs a challenge, and leaks the information about Tobias and his strings, and suggests Will should go investigate him. He knows Tobias will try to kill any investigators. But Will needs a challenge if he is to grow and become a true protégé. He needs to grow, and “to become”. That is the central theme of all Lecter texts.

Hannibal discusses all this with Bedelia, his psychiatrist, in one of the most fascinating exchanges of the show:

H: I met a man much like myself [Tobias of course]. Same hobbies. Same worldview. But I’m not interested in being his friend. I’m curious about him. And that got me curious about friendship.

B: Whose friendship are you considering?

H: [Now he’s talking about Will Graham] He’s nothing like me. We see the world in different ways, yet he can assume my point of view.

B: It’s nice when someone sees us, Hannibal. Or has the ability to see us. It requires trust. Trust is difficult for you.

H: You’ve helped me to better understand what I want in a friendship and what I don’t.

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Will and a couple of cops turn up to interview Tobias about the strings made from the unfortunate trombonist’s vocal chords, but Will is distracted by one of his imaginary distressed animal sounds. By the time he gets back inside, the cops are dead (they are clearly redshirts) and Will follows Tobias down the basement steps, much as Clarice followed Jame Gumb in Silence of the Lambs. There is an underground shoot out, just like – yep. Except Clarice appears to be a much better shot than Will.

Then there’s the whole Franklyn/Tobias/Hannibal thing that has to be resolved, and Hannibal is just the man for that sort of thing. Followed, of course, by the Goldberg Variations.

The Baltimore PD come to tidy up afterwards, with Jack and Will. There is a tender moment of blossoming friendship:

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Then Hannibal is back at Bedelia’s place, talking about responsibility. Does he feel responsible for Franklyn? Did Bedelia feel responsibility when she was attacked by her patient [and yes, we’ll hear a lot more about that in the future]? Yes, she says.

Was Tobias a cannibal? We didn’t see him eat anyone, but there were a lot of body parts about his basement, and abuse and exploitation don’t always have to be about eating, do they? He and Hannibal actually did have a lot in common. But he was too rash, too reckless. He could never be a protégé nor a friend. A friend would need to be a lot more vulnerable.

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So many snacks; so little time: “VENOM” (Fleischer, 2018)

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Venom is a character from the Marvel Universe, originally seen in Spider-man #252 (May 1984) as a living costume (honest!) then becoming a symbiote which took over Spidey (remember the black spider-man outfit?). So, if you’ll pardon the arachnid pun, this movie is a spin-off.

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The genius behind Marvel – Stan Lee – in the last cameo released before his death

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OK, so I’ll try to keep this short, because you’re reading this on the web (sorry, I just can’t help myself).

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There’s a billionaire (Riz Ahmed from Nightcrawler) who wants to send us into space (not naming names, but there are about three such billionaires in the news at the moment). He sees the future of the species as more important than the lives of the marginalised people on whom he tests his drugs, and whom he “merges” with his aliens.

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He has (had) a spaceship, which picked up some symbiotic forms from a meteor; one of those aliens caused the ship to crash on re-entry to earth.

We get the definite impression these things are not too human-friendly, as one of them kills the crew of an ambulance, in a scene that is highly reminiscent of Hannibal’s escape in Silence of the Lambs.

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That’s Hannibal Lecter of course, wearing an Officer Pembry mask

The main character is Eddie Brock (Tom Hardy, an extremely versatile English actor who was playing a Russian in a recent movie review, and is here playing an American). Eddie is an investigative journalist, which apparently requires a lot of chutzpah and some very fast motorcycle stunts. His fiancée is a lawyer named Anne Weying (Michelle Williams from lots of great movies, including Brokeback Mountain). Anne is working for a law firm that is defending the billionaire, but Eddy knows the password on her computer and finds out stuff he isn’t supposed to know about wrongful deaths caused by the company (didn’t we see that plot point on Billions?)

Anyway, he asks the billionaire difficult questions and he and Anne both get fired, because he clearly got the scoop from her. She breaks off the engagement, Eddie ends up down and out, and helpless – he can’t even defend his local convenience store manager from a dude with a gun who comes in for “protection” money on a regular basis.

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But hey, there are symbiotes out there, looking for some human interaction, and they have teeth that would make the dental association wet themselves. The one that winds up inside Eddie is named Venom, one of the ones from the billionaire’s lab, and he has been through several hosts, most of which have died because they are not compatible. Then there’s the other one that killed the ambulance crew, and has since killed a lot more people, and he is mad, bad and dangerous to host.vlcsnap-00038.jpg

Eddie being a nice guy leads to Venom becoming nice (ish) too and agreeing to oppose the plot to bring the other symbiotes to earth, where they intend to feast on humans – they’ve figured out there are plenty of us to go around.

Venom takes over a cute doggie and then moves into Anne, who comes to save Eddie from the bad guys, leading to an awkward kiss between him and the symbiotic version of Anne, now in slinky black alien shape.

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Of course, to save Eddie, Anne has to take some fairly drastic action, in her Venom persona.

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There are some great action sequences involving bikes and drones and cars (leaping off the ground in standard San Fran car chase mode) and a pretty awesome battle between Venom and the nasty alien.

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Everyone thinks  the aliens have gone, but in fact Venom is still inside Eddie and they are now true sybiotes: two beings in one body. He can turn back into Venom when required, and Venom is almost always hungry, and he doesn’t like dead meat.

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So we come to the point of having this movie in a cannibalism blog. They come to an understanding: they won’t eat any nice humans, but very, very bad ones – that’s fine.

A succinct statement of the ethics of cannibalism. Hannibal would have amended it to “rude people”, but philosophers get to make their own ethical maxims. And so it is that he, or they, eat the rude, violent dude in the convenience store.

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Look, it’s not a great movie, and the critics were quite rude, with a pretty ordinary score of 28% on Rotten Tomatoes. The movie-going public felt differently, and the box office so far is over $850 million, which is an almost mind-boggling figure, even for a movie in which the hero bites off people’s heads. I guess people love to see (other) humans being eaten. Is this a cannibal movie? Well, half the main character is human, so I guess it’s half a cannibal film.

So what’s next for a nice guy who occasionally becomes an alien cannibal and eats rude people? Hannibal would approve of Venom’s answer:

“The way I see it, we can do whatever we want”.

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“Nothing here is vegetarian” HANNIBAL, Season 1 Episode 7, (Fuller, 2013)

This episode is called “Sorbet” which, in a French menu, is the break, the refreshing fruit frappe served between courses to clear the palate. It’s all about preparing: not just the kitchen and the ingredients, but also the guests. It’s about content, and timing.

In this episode, we find out much about Hannibal, particularly the way he chooses and prepares his meat, but also some important psychological facts. We meet his psychiatrist, Bedelia Du Maurier (Gillian Anderson – Dana Scully from X-Files). She knows a lot about Hannibal – not everything, but a lot more than Jack and Will and the entire FBI. But, like one of Hannibal’s feasts, she is going to serve us each dish when it, and we, are ready.

The episode starts with Will lecturing at the FBI Academy about the Chesapeake Ripper, who we (but no one else) know is really Hannibal. We learn a lot about how Will believes the Ripper views his victims, and about his methods.

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A “sounder” is a collective term for pigs, and that is how Hannibal sees his victims – as pigs. Just as humans confine and slaughter pigs with barely a twinge of conscience, so Hannibal collects human organs for his freezer.

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Organs are carefully removed. Like an earlier Ripper named Jack, the conclusion is that the killer has anatomical or surgical training (although Jack the Ripper may have been a butcher rather than a surgeon). Another important fact that Will tells the kids and us:

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And so to the theatre we go, the concert hall in fact, where we hear a magnificent opera recital from the brilliant pen of Brian Reitzell, who went on, after Hannibal, to write the music for American Gods. Of course, we can’t just sit and enjoy it as Hannibal and his annoying patient Franklyn (and his friend Tobias) do, decked out in black tie and tux. No, we start with some lessons in anatomy and acoustics – the scene starts in the larynx of the singer and we then get to follow the music up her throat and into Hannibal’s ear.

After the recital, the Chairperson of the Baltimore Philharmonic gently chides Hannibal for not putting on one of his sumptuous feasts – she misses not just the food but the spectacle.

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Hannibal replies that he is waiting for inspiration. Perhaps Franklyn provides it: as Hannibal rather testily dismisses him, he asks:

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Hannibal is also busy torturing Jack with supposed calls from his missing student Miriam Lass. As Will puts it:

“The reason he left you Miriam Lass’s arm is so he could poke you with it.”

Meanwhile, Jack and Will are busy with a new killer, who the CSI gang are convinced is the Ripper (organs have been removed, if a bit sloppily). Will says no – this dude is collecting organs for sale, and trying to save the “donor” afterwards (without a great deal of success). This is not the MO of the Ripper:

So, asks Jack, how do you see the Ripper? Will considers, and then comes up with an analysis taken from Will’s analysis of Hannibal in Red Dragon (the book):

“… one of those pitiful things sometimes born in hospitals. They feed it. Keep it warm. But they don’t put it on the machines. They let it die. But he doesn’t die.”

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We finally meet Bedelia Du Maurier, Hannibal’s psychiatrist. It is perhaps not widely known that psychiatrists go to psychiatrists, but in view of the psychic storms they deal with daily, it makes sense. Hannibal later tells Will he started seeing a psychiatrist when he chose to become one.

Bedelia does not mince words. She is no longer practising, and stays available for Hannibal because she likes him. Turns out there are other reasons too, but we’ll save them for later episodes. She and Hannibal discuss honesty, and she shows that she can indeed be brutally honest:

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She also tells him that she is his therapist, not his friend, something he recently told the distraught Franklyn, who is a version of Benjamin Raspail from the books, one of the Silence of the Lambs characters whose names were not released by MGM for the television production. Caught in his own trap, Hannibal must look for company or even friendship elsewhere. Could it be Will?

Hannibal and Will have a lot in common, particularly a fascination with the motivation of the Ripper.

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We find out a lot more about Hannibal’s motivations in a series of montages showing how he chooses his victims (from their business cards) and the meal they will supply (from a set of menu cards in perfect copperplate handwriting).

He starts with a medical examiner who rudely accuses Hannibal of lying. Hannibal asks for his business card, and then appears when the man’s car mysteriously breaks down on a rainy road.

The rude medical examiner is found in a school bus, his top half sitting across the aisle from his bottom half. He is missing a kidney and his heart.

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Will realises, though, that the mutilations are just theatre.

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Hannibal and Alana prepare these organs for dinner (she presumably believes them to be from a different mammal) and duel flirtatiously as he tries to draw out what she knows about Will. Hannibal’s interest in Will is growing in each scene. He suspects Will can become a friend, perhaps even become an Übermensch like himself.

In the meantime, Hannibal is preparing his banquet for the Philharmonic. There is the montage of business cards and recipes involving liver pate, brisket, lungs and brains, and various business owners, who presumably have offended Hannibal’s intense dislike of discourtesy. This montage is accompanied by the rollicking “Golden Calf” aria sung by Mephistopheles in Gounod’s Faust.

“Le monstre abject insulte aux cieux! [The abject monster insults heaven!]”

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This spate of mutilations leaves the investigation team baffled. No longer are they seeking an organ harvester – one of the victims is missing a spleen. Who on earth is waiting for a spleen transplant? There is only one explanation:

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But despite the excitement of hunting and cooking, Hannibal is unhappy. There is a poignant scene of Hannibal sitting, forlorn, at his desk, checking his appointment book (last appointment Will Graham) as we hear, what else, the Mozart Requiem, the musical quintessence of melancholy.

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He goes looking for Will, who is day-nightmaring about Abigail (who is calling him “Dad”) and girls mounted on antlers. Hannibal interrupts his bad dreams and sees the range of atrocity photographs will has been studying.

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There follows a discussion of the possible motivations of the Ripper, in which Will is starting to get close to the truth. Hannibal suggests that perhaps the Ripper is displaying his enemies after death, as happens in many cultures. Will disagrees – “These aren’t the Ripper’s enemies. These are pests he’s swatted.” They are just being punished for undignified behaviour. Disgraced.

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As he prepares his banquet, Hannibal tells Will why he gave up surgery:

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This is news to us, although we know that, as a child, he was unable to save his sister Mischa – could this be an indirect reference? Anyway. There follows a wonderful montage of Hannibal’s banquet plates, followed by a round of applause from his guests, who are all about to become unaware cannibals.

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But before they can eat, Hannibal has a warning:

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What they applaud now, they will later consider appalling, abject, psychologically shattering. The gross hypocrisy of their logic is impossible for even the brilliant Doctor Lecter to comprehend.

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