“I know that babies taste best”: SNOWPIERCER (Bong Joon-ho, 2013)

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Verschlimmbesserung: a word I found in the Urban Dictionary. It means an attempted improvement, which just makes things worse.

How can we make the frightening prospects of global catastrophe due to climate change even worse? Well, apparently the best way is to come up with a half-arsed way of fixing it. In Snowpiercer, a corporation has come up with a substance, CW-7, which is sprayed into the atmosphere to deflect the sun’s rays and cool the planet. It succeeds brilliantly:

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The only humans left alive are on a train, the SNOWPIERCER, which dashes through the snow, circumnavigating the earth once a year. The grateful survivors form a happy band of brothers who work together to survive.

Just kidding!

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There is, as in all human society, a strict hierarchy of power and privilege. It’s the year 2031. The rich, including the train’s inventor Wilford (Ed Harris) live in luxury at the front of the train, the “scum” live at the back in squalor, beaten and tormented by armed soldiers and fed a mysterious protein bar made of what?

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There is revolution brewing though, led by Curtis (Chris Evans, in a far meatier role than Captain America ever offered him).

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There’s a lot to like in this movie – the plot is interesting, the action plentiful, the cast are stellar (including also John Hurt, Octavia Spencer, Song Kang Ho, and Tilda Swinton, as well as Paul Lazar, who played a nerdy scientist in Silence of the Lambs) and the photography, particularly of the frozen world and the train, is superb.

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Bong Joon-ho is one of the most exciting filmmakers working today. Metacritic has ranked him one of the 25 best film directors of the 21st century, and he recently became the first Korean director to win the top prize at Cannes – the Palme d’Or, for his new film Parasite, which also explores class and social divisions. The film between Snowpiercer and Parasite was Okja, an animated piece that was also nominated for a Palme d’Or but was voted down, perhaps because it was released on Netflix. Okja crossed the anthropocentric line of privilege, featuring cruelty to a giant pig specially bred for human consumption (like so many animals today) and the horrors she faces in the slaughterhouse.

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Snowpiercer also explores some fascinating ethical issues to do with leadership, biopolitics, class privilege, revolution, violence, the Holocaust, our reliance on technology and yes, finally, cannibalism.

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Wilford explains to Curtis: “You’ve seen what people do without leadership.”

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Look, this is a pretty recent movie and got a woeful cinematic release, so you may still be planning to see it. Therefore, I won’t disclose the ending. But you need to know the cannibalism angle, because you are, after all, reading this blog on cannibal films and TV shows.

There are hints in the first half of the film, discussions about the number of arms people have, and then more food references as they march their prisoner Mason (Tilda Swinton), who previously lectured them on their place at the bottom of society, through the front cars. First they go through a greenhouse, then an aquarium, and we hear Bach’s Goldberg Variations, a tribute (one hopes) to Silence of the Lambs.  At the front of the aquarium, ecological balance is maintained by eating the fish twice a year as sushi. They sit down for this elite meal, but make their captive eat the protein bars that are the only food given to the “scum”.

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Curtis and his dwindling band of fighters go through a butchery, then a school, where the children are taught that tail-enders

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And that we, the pre-trainers,

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There are dentists, tailors, hairdressers, a fancy dining-car, an aquatic centre, a disco, a drug lounge – all the things that make up decadent, modern society.

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We are socially and culturally determined in large part by what we eat. The food is always better in first or business class. The higher classes eat beautifully prepared, gourmet tidbits. The lower classes, the starving and the deranged eat what they are given, or what they can hunt.

Just before the showdown, Curtis reveals what it was like when they first boarded the train: “A thousand people in an iron box. No food, no water.”

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“There was a woman. She was hiding with her baby. And some men with knives came. They killed her and they took her baby.”

Then an old man took the knife and cut off his own arm, offering them that as food, to save the baby. Then others started doing the same. Sacrificing to the cannibals to save the next generation. Then the rich started sending through protein bars. And we thought they were going to be the cannibals!

Things Curtis hates about himself:

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Well, there’s a lot more to the story, and a lot more to like, but you can find out by watching the movie. It’s worth it.

Here’s the trailer:

 

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We are all Nietzschean fish: HANNIBAL Season 2 Episode 8 “Su-zakana” (Fuller, 2014)

When Jacques Derrida pointed out that the binary of inside/outside is “the matrix of all possible opposition”, he was apparently not referring to this episode of Hannibal, not even to cannibalism particularly. But he was big on deconstructing binary oppositions, and his opinion that the core binary, the binary to end (or start) all binaries, is that between inside and outside, is particularly apposite to this episode.

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Will and Jack are fishing through a hole in the frozen ice of a river, but the prey they are planning to capture is not piscine – it’s Hannibal. Yes, Jack finally got the message; they are no longer discussing whether Hannibal is the Ripper, now it’s about the tactics that might entrap him. They are outside of Hannibal’s world of gourmet human flesh, and their way through it is via his table. Live bait, to lure a predator.

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IMHO this is one of the key episodes of the series, smack in its middle (although who knew that the blinkered, Philistine network would cancel after three seasons?), and it features the line that for me is the core of the whole Hannibal mythology:

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One of Nietzsche’s most quoted aphorisms is “That which does not kill me makes me stronger” and that, for Hannibal, is precisely the role of a true friend. One should be, to a friend, “an arrow and a longing for the Übermensch” (the superman). This is to what Hannibal was referring when he said that the struggles with Will (including, of course, his attempted murder of Hannibal) would change them – that they were “all Nietzschean fish”.

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Will has brought along a wild-caught trout, from his icy rendezvous with Jack. Hannibal has prepared it as truite saumonee au bleu, and the trout seems to be regurgitating his own tail.

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You thought “turducken” was some brilliant 21st century idea? Nup. The Tudors were doing it in the 16th century, and it was called “engastration” meaning “stuffed up the gastric passages”. Their specialities included pie from a whole turkey stuffed with a goose, who was stuffed with a chicken, then a partridge, which was stuffed with a pigeon. This poor trout has his own tail in his mouth, but he is the very totem of cannibalism: humans eating humans; we eat ourselves.

They dine to the Piano Concerto 1 in C Major by Ludwig Van Beethoven, or at least that is what we, the audience get to consume, while they enjoy the fish and the banter. Will is being a smartarse, implying that he still suspects, or knows, that Hannibal is the cannibal, and implying he might be joining up with him.

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Jack is quick to dispel the idea that they might have doubts about Hannibal, but alludes instead to:

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Hannibal is ready for that. He has a whole Nietzschean weltanschauung to share with his admiring friends:

“We need to move past apologies and forgiveness. We will absorb this experience.”

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This could have almost come out of Thus spake Zarathustra, in which “man is overcome and the concept Übermensch becomes the greatest reality”. Hannibal, as we know, spends his time helping the region’s many serial killers and tormented psychotics to “become” their greater selves. As a leading forensic psychiatrist, he is familiar with, and often therapist to, most of those who will be pursued by the FBI. Like Nietzsche, who said that “Zarathustra, as the first psychologist of the good man, is perforce the friend of the evil man”, Hannibal is drawn to these violent individuals, not to cure them but to see if they can become a higher form – an Übermensch.

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Now we get into the episode’s killing time and, again, there is engastration involved. This time, a vet examining a dead horse finds she was not pregnant, but has a dead woman sewn inside her. Now, that’s worth calling the FBI for.

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Hannibal is still acting as murderer-interpreter, despite having said he was retiring last episode. He sees that the woman is inside the horse for a reason:

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Yeah, where have we heard that before? Ah yes, Jame Gumb (Buffalo Bill) in Silence of the Lambs, who put a moth chrysalis into the throat of each victim, as they ‘gave’ their skin to assist his becoming a woman.  But what was this woman supposed to become? She’s pretty dead.

Look, this whole woman in horse plot is a bit silly, so we get to meet another really important character family: the Vergers. We don’t see Mason yet, who will be the main antagonist later, but we hear him as he rapes his sister, Margo, saying

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Since we’ve all read the book or seen the film Hannibal, we know that Mason used to give poor kids chocolate at his father’s poor-kids’-camps, just before he abused them. So, Margo has changed (in the book she is a weight-lifting lesbian, who would be less prone to submit to Mason’s perverse desires, but the bodybuilding lesbian is such a stereotype). Now she is very cute, and we figure someone is going to fall for her, and that someone’s gonna be Will, because we suddenly see a filmy love scene, apparently inspired by the impressionistic sex scene in the film Fight Club, which turns out to be Alana and Hannibal. Is Hannibal bi, or just using her? Best not to talk about it.

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Hannibal has his own hopes for Margo Verger, including a course of Übermensch 101, which is – get them to kill someone. In this case, her abusive and filthy rich brother.

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Alana really likes to talk about stuff in bed, much to Hannibal’s obvious distaste.

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The woman in the horse’s uterus is on the slab, very dead, giving the BAU (Behavioral Analysis Unit) guys a chance to get some cannibal talk in.

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But hey, there’s a heartbeat! Is this the birth that Hannibal predicted? They open her up, crack apart the ribs, and a bird flies out. Birth, resurrection, growth, all basic issues in Hannibal and the rest of Western literature.

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And we’re not finished with inside/outside dualisms and engastration. The bird in the woman in the horse was meant to be her rebirth, and Hannibal points out to Will:

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Will has found out that “doing bad things to bad people makes you feel good”, a truth that Hannibal emphasises to him, and also to Margo, who has been dehumanised by her brother, and since then by her family, who consider her weird. She’s come to the right analyst here:

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But does Will still want to kill Hannibal?

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Oh, yes, the sub-plot. The psychopath killing people is the social worker of the guy who sewed the woman into the horse, hoping for a rebirth. Those two, of course, must have their confrontation. It results in one of the great lines of the show:

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He’s certainly in there, but he’s not dead, and tears his way out of the horse’s uterus just as Hannibal is bonding with a sheep, a nod to the original theme of Silence of the Lambs.

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Will wants to kill the dude, but Hannibal stops him. Killing people is 101, and Will is way past that, so Hannibal sticks his thumb in the gun’s hammer just as Will is about to blow the killer away. Killing this random psychopath will not move Will onto a higher level of evolution.

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But Hannibal is impressed as hell at Will’s progress from wimpy FBI trainer to willing executioner. With dialogue quoted straight out of Hannibal’s thoughts about Clarice at the end of the book Hannibal, he tells Will:

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“I can feed the caterpillar, and I can whisper through the chrysalis, but what hatches”:

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As the great Derridean and Nietzschean philosopher Dr Seuss once said: “Inside, Outside, Upside Down”.

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Slapstick cannibals: BE MY KING (Lane, 1928)

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A short movie from Lupino Lane, who was the most famous of the English Lupino family, until eclipsed by his cousin Ida Lupino, one of the only female filmmakers working during the 1950s in the Hollywood studio system, and the first woman to direct a film noir with The Hitch-Hiker in 1953.

Lupino Lane stars in this short silent movie with his brother Wallace Lupino, who plays an older authority figure, despite being some years younger than Lane. The Lupino brothers later shot to fame with a show called Me and My Girl in the 1930s, which inflicted the song “The Lambeth Walk” onto an unsuspecting public.

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Lane is a cabin boy, shipwrecked with Wallace on an island, where they come across the obligatory foot print (think Robinson Crusoe).

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Lane sets off to find signs of civilisation. Various animals cross his path – a chimp, a lion, a leopard, even an elephant, none of which he notices, until he is frightened by a rabbit. Wallace is captured by cannibals (male) while Lane is accosted by the females, who takes a bite at him.

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He is captured by the male cannibals and taken to the – yes – cooking pot that was so much part of the myth of primitive cannibalism.

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In fact, the trope of the sad-eyed missionary or sailor in a cooking pot surrounded by fierce savages with bones in their noses is perhaps the first image most people conjure up when (if) they think about cannibalism. There is, of course, no evidence that this ever happened anywhere, but there is some speculation that the story was spread by missionaries, as it did wonders for their fund-raising efforts.

Lane is rescued by the love of the chief’s daughter (think Man from Deep River) – and dressed for the wedding, while Wallace is fattened up for the feast. In fact, there are many precursors to the later cannibal movies in this absurd little piece.

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This is a very early celluloid version of the white man in the cooking pot, which is why I have included it here. The movie is mostly very silly, but funny in parts, in that early Chaplin-esque slapstick way.

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But there is a sinister aspect – this dismissal of ‘savage’ races as unquestionably cannibals was useful not just for mission fund-raising but also as a pretext for the invasion, conversion, subjugation and often extermination of the indigenous peoples of the lands that Europeans wanted to exploit. The uncritical acceptance by Western audiences of this image of the native as cannibal construed colonised peoples as racially degenerate, and made the appalling atrocities of colonialism somehow less bothersome, particularly to its beneficiaries.

This Youtube link below is actually not a trailer, but the complete movie.

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Cannibalism and the limits to appetite: THE COOK, THE THIEF, HIS WIFE AND HER LOVER (Greenaway, 1989)

Michel Montaigne wrote, back in the sixteenth century, that savagery is not all on the side of the cannibal:

There is more barbarisme [sic] in eating men alive, than to feed upon them being dead; to mangle by tortures torment a body full of lively sense… than to roast him after he is dead”.

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Peter Greenaway’s The cook, the thief, his wife and her lover (1989) is the perfect representation of the savage cannibal within our own civilisation, even though the actual act of cannibalism does not occur until the closing minutes of the film. The film however is replete with images of physical and metaphoric incorporation and abjection: eating, corpses, excrement, violence and humiliation. This is such a perfect representation of abjection that the Reelviews reviewer was “at a loss” to find anything disgusting that had been left out.

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The film is almost entirely set inside the upmarket restaurant Le Hollandais which has been bought by gangster Albert Spica (Michael Gambon) who torments and humiliates the patrons, staff, his men and his wife Georgina (Helen Mirren). Crystal Bartolovich describes this process as “making everyone around him miserable in ways that depend upon the alimentary canal”. Another reviewer observed that the restaurant metaphorically presents a reversed alimentary canal: the back door with its dog-shit is the anus, the stomach is the kitchen where the food is processed and finally the dining room is the mouth, the site of cultured discrimination, but also of abuse.

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While Spica eats and belches and spouts abuse and absurd bon mots, Georgina escapes, in brief interludes, to have a sexual and then a loving relationship with the very refined bookshop owner Michael (Alan Howard), with the connivance of the cook, Richard Borst (Richard Bohringer). The world of the restaurant is surreal, with each room coloured differently and the costumes of the protagonists changing to match as they move between them. Tables in the kitchen and the dining room are groaning under the bodies of dead birds and mammals. Spica shows little distinction between his three pet subjects: food, excrement and sex. The pleasures of sex and eating and the abjection of excretion are important messages from Greenaway’s film: Spica sums up “the naughty bits and the dirty bits are so close together, that it just goes to show how eating and sex are related”.

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He forces an enemy to eat dog-shit, his men gorge on the fine dining and vomit on the table, and his wife reveals that sex for him involves only violence and degradation. Spica’s favoured method of torture is force feeding: he feeds excrement in the opening scene to a man who owes him money, he feeds buttons to the kitchen boy, and when he discovers the love affair, he promises to catch the lover, kill him, and eat him. He and his men kill Michael by making him eat one of his books.

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Georgina persuades Borst to cook Michael’s body; in a ceremonial scene, she reverses his force-feeding tactic and at gunpoint forces him to make good his earlier threat to eat the lover, suggesting he starts with Michael’s cock: “it’s a delicacy, and you know where it’s been”.

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As she kills Spica with another phallic symbol, his own gun, she hisses at him (while looking at us, the viewers) the single, final word of the film: “cannibal!”

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The film’s alterity focuses on the criminal crew against polite society. It was made toward the end of the long period known as Thatcherism, in which Britain was hugely polarised between followers of “libertarianism” and their opponents who felt that money and power were crushing all vestiges of civil society. The film has widely been interpreted as a protest about the politics of that time, with the thief as Thatcher and her greedy plutocrats and the lover as the ineffectual left opposition, the cook as the civil service and the wife as the people, being alternately wooed and abused. Roger Ebert saw a more universal message about an entrepreneurial class that is raping the earth and its environment while the “timid majority” finds distraction in romance and escapism. The New York Times felt that Greenaway was asking the question: what happens when “the most crass and sadistic people” gain power? Greenaway himself said that his use of cannibalism was a metaphor of consumer society: “once we’ve stuffed the whole world into our mouths, ultimately we’ll end up eating ourselves”.

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Some critics, however, sees Greenaway’s message as elitist: consumption is only an issue when the “wrong” people are doing it. Spica and his crew debase the high culture of Le Hollandais with their ignorance, crudity and violence. Georgina (whom Spica insists on calling “Georgie” as if trying to alter her gender), Michael and Borst are refined, aesthetic and vulnerable, like the high culture which the thieves despise and aspire to at the same time. Greenaway seems to be accusing the “low culture” thieves, and his audience, of the same “voracious hunger” that colonialism cited to calumniate the natives they wanted to subdue.

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Greenaway is exploring these “limits to appetite” in his scenes of sex, food and excrement; the contemporary cannibal demonstrates a new and uncertain relation to commodities. The cook is a film about abjection, but also desire. Cannibalism reduces the human to a roast dinner, but at the same time questions the limits we increasingly need to put on our meals, as we overconsume our share of natural resources.

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“An act of dominance: HANNIBAL Season 2 Episode 6 “Futamono” (Fuller, 2014)

Why do cannibals eat people? This episode looks at that question, and demonstrates that they do it for the same reason that anyone eats anything. Appetite and power. Hunger and dominance. They want to, and they can. Isn’t that why people eat other animals?

Hannibal had a near death experience in the previous episode and, as this one starts, he is playing harpsichord. As he explains to Alana Bloom, who is also a psychiatrist and into this stuff:

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He is growing. Becoming, as he hopes Will is growing and becoming – becoming a killer and cannibal like him.

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Well, Will is already a cannibal – as he says to Jack Crawford:

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Look, people as a rule don’t like cannibals much. Will tells Jack that he (Will) has “contempt for the Ripper, contempt for what he does”. What does he do? Jack asks.  In a piece of dialogue straight out of the interview between Clarice and Hannibal in Silence of the Lambs, Will tells us:

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If Will was Hannibal, he’d quote Marcus Aurelius. But this is close enough. Jack points out that the killer harvests organs. That’s what he does, sure, but why? Why does he need to do it?

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Will is quick to point out that Hannibal is not like Hobbs, who honoured the animals (human and other) that he killed and ate. He uses the word “sounder” (a collective noun for hogs) deliberately.

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Well, Hannibal is certainly thinking gastronomically. He is cutting up and skewering the pieces of a heart – human, probably. Alana is helping him, analysing him, working on a definition of humanity as they prepare the heart:

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…and the things that make us human. Good and bad, love and ache.

Hannibal has not recovered from the murder attempt on himself.

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And when Hannibal goes shopping, it’s not random. He has a method. A list of rude people, and a wonderful, hand-written recipe card base.

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The latest victim has been grafted onto a tree in a carpark, his organs replaced with poisonous flowers. All except for his lungs.

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Jack realises why: This is a judgement.

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Jack wants to tell Hannibal about the latest case, but he won’t listen.

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How is he going to do that?

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Well, Will told Jack that if people were being killed, then Hannibal was planning a dinner party. Is this all still too subtle for Jack?

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But now, Will is not alone. Abel Gideon knows about Hannibal, and so does Chilton, who records all their conversations. Jack asks Chilton if he knows what he is accusing Hannibal of? Oh yes.

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Chilton is a believer, now that his life is at stake. He analyses Hannibal as psychopath:

Jack, he fits the profile. He is attracted to medical and psychological fields because they offer power over man. Cannibalism –

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Hannibal eats people because he wants to, and because he can. He shows his dominance, and he dispenses justice. The dude grafted into a tree had, Jack observes, “paved paradise and put up a parking lot.” It had been an important nesting habitat for endangered songbirds.

Hannibal is picking victims for his dinner party. The recipes and victims are chosen and prepared carefully, to a Strauss “love song waltz”.

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Hannibal’s party is splendid, with liveried footmen serving the dishes he planned during the sequences above. Chilton and Jack watch the well-heeled, well-fed guests tuck in to the fare.

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Jack rudely takes a plate of delicacies home with him. Or back to the lab.

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But Hannibal is one step ahead – the food was made of animals other than humans – goose, pig, cow.

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But Hannibal has new dinner plans. He drugs Alana, who becomes his alibi as he goes to the asylum and kidnaps Abel Gideon, the man who attempted to steal his identity by claiming to be the Chesapeake Ripper.

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Gideon, now crippled by the asylum guards, will be both guest of honour and main course: Hannibal has amputated his “useless” leg and prepared it as Roti de cuisse: clay-roasted thigh with canoe-cut marrowbone.

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Gideon is a little unsure of the etiquette of the guest / meat.

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Then, there are more tributes to the earlier books/movies:

Silence of the Lambs

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And Hannibal Rising

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And Silence again – the girl in the pit.

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Hannibal has finished his composition. This was his design.

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“Truly living with nature” – CANNIBAL TOURS (O’Rourke, 1988)

Cannibal Tours is a documentary by Australian director and cinematographer Dennis O’Rourke. The scenes in it are presented without comment, but its irony and disquiet at the nature of ‘cannibal tourism’ is blindingly obvious.

The soundtrack of the film is a mixture of music, sounds of nature, and a symphony of camera shutters.

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The film follows European and American tourists as they travel the middle Sepik River in Papua New Guinea. Most of the villages in the film are inhabited by the Iatmul people. The tourists enjoy bargaining for local handcrafts such as woodcarvings and baskets, snap endless photos of the colourful savages, hand out cigarettes, watch dance performances, and offer naive comments about native people and how they live in harmony with nature.

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It intersperses the scenes of the tourists with black-and-white photographs from the era of German colonialism of New Guinea.

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The pervasive ethnocentrism of the tourists casts them as the savages, as they dehumanise and exoticise Sepik River life.

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Some of the tourists’ observations are reproduced below without comment, just as O’Rourke does on camera.

German tourist: I heard that German colonists were very popular!
Where have they killed the people? Here?
Local: At those stones we would dance and cut off heads.
German tourist: Now I need a photograph!

An Italian tourist observes:

They are truly primitive. I wonder though if their way of life is better than ours. Truly living with nature. Not really living, more like vegetating. The experts assure us they are satisfied. Happy and well fed. Nature provides them with the necessities of life. And they don’t have to worry about thinking of tomorrow.

Local: The previous generation saw the Germans arrive by boat and thought their dead ancestors had returned. Now, when we see tourists, we say about them ‘the dead have returned!’

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There are lengthy scenes of tourists bargaining for carvings and masks.

Native woman – tourists come and look but never buy. You white men have all the money! We village people have no money!

Talking about the Spirit House, one local person recalls:

The Germans, the English and Australians took all the sacred objects. The missionaries destroyed all the most powerful symbols kept in the spirit house. The missionaries threw them out saying “It’s the devil! Get rid of it!”

 

German tourist [into his tape recorder]: Now we see the remains of a house where, in the past, cannibalism was practised.

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…for reasons of survival. And custom too, I think. It was symbolic. I think cannibalism was a cultural practice, not a necessity. Because wildlife must have been plentiful.

Local: We sit here confused while they take pictures of everything. We don’t understand why these foreigners take photographs.

Italian: we must try to help them advance in the world, bringing to them some values and convictions. Naturally, this will involve going into their villages as the missionaries do to teach them. To educate and stimulate them to behave differently.

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… living in a world completely overwhelmed by nature. They are also human.

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even though our evolution could still be disputed by some.

There is much hilarity when the tourists find a phallus for sale.

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Back on their boat, the tourists wear native warpaint and play at being savages.

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Maggie Kilgour wrote that

“the figure of the cannibal was created to support the cultural cannibalism of colonialism, through the projection of western imperialist appetites onto the cultures they then subsumed “.

The imperialists now have cameras rather than guns. The film really asks – who are the cannibals?

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The film is available (at time of writing) on YouTube:

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“He is the devil. He is smoke.” HANNIBAL Season 2 Episode 05 “Mukōzuke” (Fuller, 2014)

At its core, cannibalism is about food, eating, the joy of taste. This episode therefore commences with a comparison of the meals of Hannibal, free, prosperous, creative

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and Will, confined, subject to whatever gruel is dished up in the asylum.

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As Hannibal tells Jack:

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Hannibal eats food, not friends. He is cooking for Jack, again, making Jack perhaps the pre-eminent innocent cannibal of the series, since he dines there so often. But this time, he is pre-occupied, upset that his wife tried to kill herself, grateful that Hannibal stopped her. Hannibal discusses his own dilemma: as a doctor, he had no choice, but

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Hannibal is a good friend, says Jack. That, as we know, won’t last.

Beverly Katz has been neatly dissected and mounted into giant slides. As Will figures, she has been pulled apart layer by layer, as she would dissect a crime scene.

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Will asks to see her, and is given the same treatment Hannibal received in the film of Silence of the Lambs: straight-jacket, hockey mask and transported on a furniture trolley.

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He does his pendulum, re-enactment, this is my design, thing. He knows who killed Beverly, but cannot tell Jack, because Jack doesn’t want to believe it. Will does say that she will be missing organs:

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She is indeed missing kidneys. And guess what Hannibal’s having for lunch?

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Yep. Nice steak and kidney pie. Seems to be enjoying it too.

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So, as Clarice once asked, why does Hannibal do what he does? Abel Gideon has his own theory, not so different to the way Madds said in an interview that he chose to play him:

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He warns Will that he will never catch the Ripper – he will have to kill him. Another insight into where the series might be heading.

Hannibal now has a couple of people who suspect him: Will, of course, but also Abel Gideon, who Will brought to his house the night Gideon removed most of Chilton’s guts. He asks Chilton why, in those circumstances, he would bring Gideon back to “your hospital for the unworried unwell” [great Hannibal quip BTW]. Chilton claims it was not for “selfish reasons”. “Ah, selfishness” comments Hannibal

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He goes to meet Gideon, who is still interested in his satanic analysis:

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Outside the asylum, he is photographed by Freddie Lounds. You have to give her credit for bravery – Hannibal says something that would bring a chill to those who know him like we do, know his penchant for eating rude people:

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She goes in to interview Will, and is given the same instructions Clarice received in Silence of the Lambs:

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Will is using Freddie to contact his “admirer” – the one who killed the bailiff in his trial, hoping to get him exonerated.  Turns out to be the nurse in the “hospital for the unworried unwell”. Why? Well, smaller birds will mob a hawk.

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Yes, another elitist. Perhaps even a Nietzschean. He wants the hawks to work together. Happy to help Will any way he can. What favour can he do for Will? Will wants to make sure what happened to Beverly cannot happen again.

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Will dreams he is becoming the beast – antlers growing from his back. Hannibal is doing laps of the pool, which explains why he is in great shape and able to kill people who often seem somehow younger and fitter. Also, cold water is great for shifting blood stains. The nurse is the only other swimmer (obviously a very exclusive pool) and shoots Hannibal with a tranquiliser dart. He sinks, but that’s not a suitable death, so next we see him teetering on a bucket, bleeding out, and in a semi-crucifixion position.

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The nurse knows that Hannibal is the Ripper, and asks him

How many times have you watched someone cling on to a life that’s not really worth living? Eking out a few extra seconds. Wondering why they bother.

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The nurse, like Hannibal, is into becoming.

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Maybe your murders will become my murders. I’ll be the Chesapeake Ripper now!

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Jack arrives in the nick of time. But Hannibal has faced death, and therefore has grown. Now it’s Will’s turn.

 

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