“How did your sister taste?” HANNIBAL Season 3 Episode 3, “Secondo”

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Season 3, and particularly this episode, is presented as Gothic horror. There are dark churches, gloomy castles, even Hannibal’s shadowy kitchen, where he is removing a hand from the Sunday roast.

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This episode is all about identity. All our protagonists (if still alive) have gone through trauma, Will and Jack were clinically dead for a while, and such trauma usually leads to questioning – who am I, what am I doing, and what is this on my plate?

It’s the third episode of the final season (looking forward to being proved wrong here), and we still don’t know what happened to many of the victims of the last series. Hannibal of course is doing nicely in Florence under the name of Dr Fell, Curator at the Palazzo Capponi. Bedelia is living with him, a somewhat nervous room-mate, pretending to be Mrs Fell, but there is no sign of intimacy, and some definite portents of doom. Last episode, she witnessed the murder of Anthony Dimmond. Dimmond knew Hannibal was not Fell, and was duly killed with a bust of Aristotle (was it really Aristotle?) Hannibal, who believes Bedelia betrayed him, explained to her that she was not just observing the murder, she was participating. She knows, Dimmond knew, we know, that she is slated to be one of his next courses.

They speak, somewhat obsessively, about betrayal (not just Bedelia’s, but Will’s) and forgiveness. Hannibal forgave Will last season. Will forgave Hannibal last episode. Bedelia points out that betrayal and forgiveness are

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Hannibal is looking wistful. It is possible that he has not experienced love before, or at least not since the happy time before he ate his sister, Mischa. This is his search for identity – Hannibal as lover.

Will has two searches. He is of course searching for Hannibal, for love of for revenge is not clear to us, or to him. He is also searching for his own identity – is he a lawman or an acolyte of Hannibal? Where will he look?

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Will is in Aukštaitija, Lithuania. It’s the Lecter castle, which we last saw in the movie Hannibal Rising. Bryan Fuller, in his incomparable way, has brought to life a character who had a minor role in the book and no part in the movie – Hannibal’s aunt’s protégé, Chiyoh.

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Will walks past the grave of Mischa. He treads Hannibal’s sacred ground.

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He imagines a conversation with Hannibal, who tells him

“It’s not healing to see your childhood home – but it helps you measure whether you are broken, how and why, assuming you want to know…  Its door is at the centre of my mind, and here you are feeling for the latch.”

Hannibal’s identity is all tied up with the tiny girl who someone killed, and Hannibal ate.

We see Chiyoh shoot a bird and cut off the bird’s feet. The scene switches to Hannibal cutting off a human hand, presumably Dimmond’s. Then he is making cocktails for Professor Sogliato, the epitome of rudeness and intellectual pretension. The cocktail is Punch Romaine, a drink, he tells Sogliato, served to first class guests on the Titanic during their last dinner. Not a good omen. Sogliato has bad timing, and makes his one snide comment too many just as Hannibal is wielding the cocktail ice-pick.

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Sogliato, his frontal lobe partly destroyed, can only stutter and giggle. Bedelia, even though she is a trained doctor, pulls the ice pick out, and Sogliato immediately collapses on the table.

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Witty as ever. Bedelia asks if Hannibal is longer interested in “preserving the peace you found here?” Hannibal understands physics as well as medicine.

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Hannibal grows through conflict and engagement; it’s all a giant game of life and death to the evolving Übermensch. But it was far from impulsive. Bedelia sees what he is doing: the Titanic cocktail was a giveaway.

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He is drawing Will, who is of course in Lithuania, when Jack arrives in Italy. Jack is seeking not Hannibal, but Will. He has broken Will, perhaps turned him into Hannibal’s disciple, and while he would like the Italian police to find Hannibal, his main concern is Will.

Chiyoh is guarding a man, a wild, Robinson Crusoe type figure who, she says, is the one who ate Mischa. Fed her to Hannibal we suppose (that’s how it went in the movie). Hannibal is serving dinner to another couple from the Studiolo, who are lamenting the absence of Sogliato (who is probably at, or on, the table, unbeknownst to them).

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Hannibal wanted to kill the dude in the cage, but Chiyoh wouldn’t let him, so he left her to guard the man, for years and years. Will sets the man free, but he returns to his cage and tries to kill Chiyoh, and she then kills him. She accuses Will of doing it for the same reasons as Hannibal would – to see if she would kill. But he says he just wanted to set her free.

But here’s the thing. Our motivations for our actions come from our stories. As Will says:

“We construct fairy tales and we accept them. Our minds concoct all sorts of fantasies when we don’t want to believe something.”

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Chiyoh believes Hannibal’s story about the man in the cage. She believes that his cannibalism is simply a re-enactment of what he saw happen to his sister. Will has doubts.

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What makes Dr Lecter into “Hannibal the Cannibal”? Was it watching his sister slaughtered and eaten? Will argues this does not “quantify” him. Remember an earlier Hannibal who objected to being “quantified” by a census-taker? Remember also that thousands of people have watched appalling brutality being visited on their families and not reacted as Hannibal does.

We have not finished considering that question. Hannibal is washing Bedelia’s hair as she luxuriates in the free-standing bath tub. She asks him “What were you like as a young man?” His answer reminds us that Mads is playing the role as a demonic force.

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So, Bedelia asks the same question that Will and Chiyoh are covering. “Why can’t you go home, Hannibal? What happened to you there?”

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In Silence of the Lambs, this was followed up with

“You can’t reduce me to a set of influences. You’ve given up good and evil for behaviourism… Look at me, Officer Starling. Can you stand to say I’m evil?”

Will took on that speech, back in Season 2, during their cannibal feast. But here, Bedelia is winning the debate. She has already told him that she knows he is drawing Will and Jack to him with his murders, and warned him that he will get caught. Diving under the water, she cheekily asks

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Bedelia is once again Hannibal`s therapist; her fee is staying alive. She tells him that

“What your sister made you feel was beyond your conscious ability to control or predict. I would suggest what Will Graham makes you feel is not dissimilar. A force of mind and circumstance.”

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“Same with forgiveness. And I would argue, the same with betrayal” comments Bedelia.

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Bedelia plays her trump card.

“If past behaviour is an indicator of future behaviour, there is only one way you will forgive Will Graham.”

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“He knew exactly how to cut me”: HANNIBAL Season 3 Episode 2 “Primavera” (Fuller, 2015)

Season 2 ended with pretty much all the main characters lying dead or dying in pools of blood, except for Hannibal, who was sitting on a plane with a glass of champagne and his former psychiatrist Bedelia next to him.

The first episode of Season 3 saw Hannibal very happily ensconced in Florence with a new name, a new job, and a chance to show off his expertise in Dante’s sonnets, of course delivered in perfect Italian. So happy, he had hardly killed anyone, although that had changed by the end of the episode.

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But what of the gore-splattered rest of the cast? Did any of them live to see Season 3? Well, some did of course although, in some cases, only just. The episode starts with a long reprise of what happened to Will and Abigail, but it’s all in Will’s fevered dreams as he lies in hospital, and he sees it as the killing of his higher self:  blood pours out of a dying stag and fills the room – he is sinking, in an ocean of blood.

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This is a love story, but of star-crossed lovers. In this case, double-crossed lovers.

Time did reverse. The teacup that I shattered dared to come together. A place was made for Abigail in your world. That place was made for all of us. Together. I wanted to surprise you.
And you… you wanted to surprise me. I let you know me. See me. I gave you a rare gift.

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The teacup is a crucial symbol to Hannibal. It represents two important discourses that inform his somewhat unorthodox life choices: Nietzsche’s concept of amor fati – the love of fate, the acceptance that what has happened could not have happened any other way, and will happen again, and again. It is not fatalism though, in which we can sit and wait for the inevitable – Nietzsche and Hannibal want to be out there making it happen as it should, as it will, as it must.

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Hannibal wants to speed up the cycle of eternal recurrence, reverse time and repair all that has been lost, particularly his sister, Mischa, who was eaten. He is obsessed with Stephen Hawking’s description of entropy as proof of the “arrow of time” – we “know” that time only flows one way because a shattered teacup does not gather itself back together. Hannibal really likes Hawking’s early theory that, when the universe stops expanding and starts contracting, time will reverse and entropy mend itself; the teacup will mend, Mischa will be whole again, Abigail will be returned to Will. Undoing all the bad things that happened. He just wants to speed things up.

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Has the teacup re-formed after all? Abigail wanders into Will’s hospital room as he wakes up.

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Will is hallucinating, but it gives him a chance to state his own metaphysical opinions. Will is more a follower of Leibniz; he thinks there are an infinite number of universes and everything that can happen will, does, did happen in one of the multiverses. Just, not in this one, which makes him sad.

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It has to end well. And it has to end badly. It has to end every way it can.

OK, but Abigail wants them to find Hannibal, or rather believes the Hannibal wants them to find him. Even after all that happens, she wants to go to him. And so, of course, does Will, although he won’t admit it. He remembers Hannibal taking about his “memory palace”, a place where memories can be stored and restored, and brought out and relived even, or especially, in bad times. Hannibal’s palace is “vast, even by mediaeval standards” and

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Off to Palermo goes Will and, maybe, Abigail, and meets Inspector Pazzi, who has been chasing Hannibal for twenty years. As a young man, Hannibal was “Il Mostro”, the monster of Florence, and would kill people to make them into art works, particularly based on Botticelli’s Primavera. A real case, which remains unsolved.

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We hear more philosophy – Will has taken on Hannibal`s theology; as far as God is concerned

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Elegance is more important than suffering. That’s his design.

Then he gives us his views on Hannibal`s motivations: it’s all about fun. This is basic Hannibal philosophy, going all the way back to his letter to Will Graham in the book Red Dragon.

Hannibal’s not God. Wouldn’t have any fun being God. Defying God – that’s his idea of a good time. Nothing would thrill Hannibal more than to see this roof collapse, mid-Mass, packed pews, choirs singing, he would just love it. And he thinks God would love it too.

And of course, the roof starts to drop a fine powder on Will’s outstretched hand.

Inspector Pazzi points out that Hannibal never leaves evidence.

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Which raises the big question – what exactly is cannibalism? Was Jame Gumb a cannibal when he used women’s skin to make a “suit with tits” (which he will hopefully be doing again in Season 4)? Was Francis Dolarhyde a cannibal for killing whole families to fuel his radiance (as he will do again later in Season 3)? Hannibal eats people when he can, and when he wants to, but didn’t Jack Crawford enjoy his elegant dinners at Hannibal`s house, pretending to be a friend, knowing what was probably being served? When Will brought the long pig, pretending it flesh of Freddie Lounds, was it really Randall Tier they were eating? Hannibal sure as hell knew it wasn’t pork. Will happily ate it.

Now Hannibal has found a new, non-gustatory use for human bodies: art. He has taken the body of the annoying art student he killed last episode, and made it into a heart, his heart, broken by Will’s betrayal and the loss of the space he made for them. Will uses his powerful forensic imagination to read Hannibal`s design:

I splintered every bone. Fractured them. Dynamically. Made you malleable. I skinned you. Bent you. Twisted you. And trimmed you. Head hands, arms and legs. A topiary. This is my design. A valentine written on a broken man.

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Hannibal is – complicated. Will explains to Abigail that “he follows several trains of thought at once without distraction from any – and one of the trains is always for his own amusement.”

He gave you back to me, then he took you away. It’s Lucy and the football; he just keeps pulling you away. What if no one died? What if – what if we all left together? Like we were supposed to. After he served the lamb. Where would we have gone? …A place was made for you Abigail, in this world. It was the only place I could make for you.

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Will finally realises that Abigail is dead, and he is talking to his delusion, to his own subconscious thoughts (which are dominated by finding and rejoining Hannibal). He heads through the arch into the catacombs; he knows Hannibal is waiting in there. Pazzi is behind him, despite Will’s warnings that Hannibal will kill him. Pazzi wants to know what Will might do when/if he finds your Il Mostro?

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In an atmospheric scene somewhere between Phantom of the Opera and The Name of the Rose, Will and Hannibal wander the winding tunnels, Will calling Hannibal’s name, Hannibal silent. Waiting for Will to say it. At the end of the last season, Hannibal had said to Will as he cut him up “I forgive you, Will. Do you forgive me?”

We finally get the answer.

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Next week: a new cannibal movie from Brazil: THE CANNIBAL CLUB

“Hiding and revealing identity” – HANNIBAL Season 2, Episode 12 “Tome-wan”, (Fuller, 2014)

The penultimate episode of any season is often the most tense, since it is preparing us for the shock of the climax. Masks are torn off, loves and hatreds revealed, disguises discarded and armour strapped on. “Tome-wan” is a course of a Japanese meal in which a lidded dish is prepared and then opened to present the soup inside. So it is for Hannibal Season 2 in this episode, which will be followed, we know, by the titanic battle between Jack Crawford and Hannibal, as already partially revealed in Episode 1.

This episode is about hiding and revealing identities.

It’s just as well Hannibal is a psychiatrist, because he can explain to us, the mystified audience, what is going on in the heads of those he is manipulating. At the start of the episode, Will Graham is in therapy, asking Hannibal if he can “explain my actions? Posit my intentions?” Of course he can. Hannibal says “I have an understanding of your state of mind. You understand mine.”

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Mads Mikkelsen has said that he plays Hannibal as the devil, while Anthony Hopkins said he played the role as the “Trickster” archetype. Their portrayals have one thing at least in common – they are cultured, civilised men who hate rudeness. He uses terms from the original books and movies:

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What does one do with the rude, the crude, the uncivilised? Refine them of course, just as we refine our raw materials by processing them – in the case of food, by cooking them. So let it be with Mason Verger. Will asks if Hannibal is thinking of eating Mason.

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Barney, a guard who got on well with Hannibal at the asylum, came up with these aphorisms in the book Hannibal, even though, in this Lecter universe, the asylum is still a long way off for Hannibal.

Will agrees that Mason is “a pig” (apologies to any pigs who are listening – they are delightful animals) and that he should be someone’s bacon. He is willing to join Hannibal at the cannibal table.

But wait. Will has taken the Trickster role that this Hannibal has discarded. We know that he is conspiring with Jack to manipulate Hannibal into committing a murder, hoping to then arrest him. He claims to be doing what he accused Hannibal of doing: setting people at each other’s throats just because

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Hannibal asks Will to close his eyes and visualise what he would like to happen. Will sees Hannibal, strung up over Mason’s killer-pig pen, and Will is slashing his throat. When Hannibal asks what Will saw, they just smile at each other. The masks are coming off.

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But Hannibal has recruited Mason as a patient, and must listen to his ravings. Mason really is the freest range rude one can imagine – he puts his feet on Hannibal’s desk, then sticks his father’s knife into one of Hannibal’s fine antique chairs. Folks – don’t try this at home. It is very rude. You know it will end in tears.

Hannibal is holding forth on God again, an entity with whom he has a tortured relationship.

“God’s choices in inflicting suffering are not satisfactory to us. Nor are they understandable. Unless innocence offends him.”

Hannibal does not claim to be God. He finds Mason offensive, and must make him suffer. He would prefer Will as the chosen murderer – this would both cement their relationship, advance Will’s path of becoming, and provide an inexpensive dinner. But Margot will do – she is seeking revenge for the way Mason abused her, but she doesn’t want to lose her inheritance, which will happen if he dies.

Jack is pressuring Will to catch Hannibal, but Hannibal has demonstrated nothing for which he can be arrested.

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Hannibal will kill Mason, Will tells the confused Jack, because Mason is rude. Using a Clarice line from Silence of the Lambs, Will says

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The FBI have found Bedelia, Hannibal’s psychiatrist, who tells them how Hannibal influenced her to kill a patient of theirs. He will influence you to kill too, she warns Will.

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Will wants to know Hannibal’s weakness. How would Bedelia catch him?

“Hannibal can get lost in self-congratulation at his own exquisite taste and cunning.”

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That’s how Hannibal will be caught, which is exactly what Clarice told the Game Warden in the book Hannibal.

Will is playing a dangerous game, pretending that he is coming over to Hannibal’s side, although a part of him is certainly longing to do so. He tells Hannibal that it is all starting to feel like a dream. Dreams, Hannibal tells him, prepare us for waking life.

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Hannibal is taking off his mask, something he rarely does, and inviting Will into his inner sanctum of extreme carnivorous virility, and into a relationship that will be new for both of them.

“There are extraordinary circumstances here, Will. And unusual opportunities. Mason Verger is a problem. And problem solving is hunting.”

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Will is not so sure he is on top of this manipulation. He is confused and tempted by Hannibal’s offer to be the cannibal’s apprentice. He concludes:

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“Every moment of cogent thought under your psychiatric care is a personal victory. We are just alike. You’re as alone as I am.”

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It’s love, captain, but not as we know it. It’s a form of love that only two adversaries can feel. Both are sincere, yet both are trying to manipulate, master the other.

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Jack is maintaining his mask as well – the admiring friend, who enjoys Hannibal’s exquisite gourmet dinners, and is not even a bit suspicious. Hannibal can see right through this, as he sees through the main course – Kholodets, a dish in which fish are mounted in clear calves foot jelly, positioned as if pursuing each other. Jack admits that he doesn’t understand who is pursuing whom at the moment. Well, says Hannibal, whoever is pursuing whom in this very moment

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Well, if Will is to manipulate Hannibal into an arrestable offence, he’ll have to hurry, because the patient (Mason) has captured Hannibal, bound him in a straitjacket and suspended him over the carnivorous pigpen, just like Will’s fantasy. And hey – Will is there, to help feed those hungry piggies! Here’s his chance to get rid of the Chesapeake Ripper and revenge himself for his false arrest. All he has to do is take the knife Mason hands him and cut Hannibal a bit, make his blood drip into the pen, to excite the pigs’ appetite.

Instead, he joins Hannibal’s army. He cuts the straitjacket and frees Hannibal. In the fight that follows, he is rendered unconscious.

Some time later, Hannibal has Mason tied to a chair, and is prescribing drugs – a cocktail of psychedelics.

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It’s all happening in Will’s house, and when he arrives, Mason is kindly feeding Will’s adopted dog family. Ever suspicious, Will asks “What are you feeding my dogs?”

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He is chopping off bits of his face and feeding them to the dogs. As he feeds and praises the dogs, he tells a story that might explain Hannibal’s wrath.

“I adopted some dogs from the shelter. Two dogs that were friends. I had them in a cage together with no food and fresh water. One of them died hungry. The other had a warm meal.”

Hannibal has nothing against human cannibalism, but dog cannibalism is beyond the pale. Rude.

Now it’s time for the apprentice to step up.

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Will replies:

“There is no mercy. We make mercy. Manufacture it in the parts that have overgrown our basic reptile brain.”

Then, says Hannibal, there is no murder – we manufacture that as well. Will has all the elements to make murder. Maybe mercy too, but murder is what he knows best. This is a fascinating piece of Thomas Harris’ philosophical musing from the very last page of the book Red Dragon. In this scene, Will is at the scene of the battle of Shiloh, one of the fiercest battles of the American Civil War, at a pond which mythology later named, for obvious reasons, “Bloody Pond”. He has a realisation.

“Shiloh was not sinister; it was indifferent. Beautiful Shiloh could witness anything. Its unforgivable beauty simply underscored the indifference of nature, the Green Machine….

He wondered if, in the great body of humankind, in the minds of men set on civilisation, the vicious urges we control in ourselves and the dark instinctive knowledge of those urges function like the crippled virus the body arms against.

He wondered if old, awful urges are the virus that makes vaccine.”

Mason interrupts to tell them he is hungry, and Hannibal recommends auto-cannibalism.

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He does.

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That shifted the conversation – now we can talk about taste! Who knew we humans tasted like chickens? Hannibal uses some more lines from the book and movie Hannibal.

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Hannibal asks Will to kill Mason, but he refuses. “He’s your patient, Doctor”

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Mason is now faceless and quadriplegic. Jack visits him, hoping to gather an accusation against Hannibal, but now Mason is wearing a mask. Quite literally. From behind his mask, he tells Jack that he has benefitted greatly from Hannibal’s therapy and

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You bet he does.

Will visits Hannibal, who is drawing an image from the Iliad

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Hannibal sees himself as Achilles, the invincible warrior, and Will as Patroclus, his only love, who was killed outside Troy while dressed in Achilles’ armour. Patroclus, like Will, was known for his empathy. A constant theme of Greek epics, Hannibal says is

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Also battle-tested friendships. Hannibal tells Will that Achilles wanted all the Greeks to die, so that he and Patroclus could conquer Troy alone.

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Will has moved far beyond entrapping Hannibal now. He is at the very least an accomplice to the mutilation and crippling of Mason Verger. He plays his last ace: he tells Hannibal that they are going to get caught, that Jack suspects, that Hannibal should give Jack the Ripper. “Allow him closure. Reveal yourself. You’ve taunted him for long enough.” Is he hoping Hannibal will repent and confess?

Hannibal seems to agree. “Jack has become my friend. I suppose I owe him the truth”.

The truth can hurt, as we will find out in the next episode, the Season 2 finale, the blog of which I will post in two weeks, on 8th September. Everyone will reveal their identity, and it will get brutal.

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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“Death is not a defeat” HANNIBAL Season 2 Episode 4 “Takiawase” (Fuller 2014)

Previously on Hannibal, Will Graham was arrested for Hannibal’s murders, and chose to plead not guilty; but if the verdict goes against him, the penalty will be death. However, he now has a short reprieve thanks to a secret admirer, who generously killed the judge in his case. We, the audience, have a chance to “draw a breath”, which is also the term for being alive. And this episode is all about life and death, and choosing between them, for ourselves, for those we love, and for our victims. It is summed up in the “previously on Hannibal” reprise, where Jack and Hannibal discuss death. Jack has spent his life chasing serial killers:

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Will mentally escapes his prison purgatory by remembering good times – fishing. He finds this, as many people describe, relaxing and even meditative. In this memory, he visualises teaching Abigail to fish, the same Abigail who everyone believes is dead and at least partly inside Will’s digestive tract (in that he vomited up one of her ears). Abigail sees no real difference between hunting with her father, who killed and ate girls who looked like her, and trapping and killing fish. She has a point.

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Beverley, the super smart FBI investigator, wants to believe Will is not guilty, but cannot buy his accusations against Hannibal. She seeks Will’s assistance to understand who killed the dude who made mosaics out of corpses, and gets mad at him when he accuses, who else, Hannibal. Why, she asks, would he do it?

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He tells her: “There will be a clever detail – he wouldn’t be able to resist it.”

Will is contemplating murder, Beverley is contemplating motive, and Jack’s wife, Bella, is contemplating suicide. Her breast cancer has spread, and she is consulting Hannibal about life and death, subjects on which, like most things, he is expert. Her cancer has won the battle, and she has no quality of life, is only staying alive for Jack.

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That thought, she tells Hannibal, makes her feel alive. How, she asks, does it make Hannibal feel? And that question affords us a fascinating glimpse into Hannibal as Übermensch:

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“The thought that my life could end at any moment frees me to fully appreciate the beauty and art and horror of everything this world has to offer”

Nietzsche, like Hannibal, was a Dionysian, contemptuous of the moralising of Christian ethics. Dionysus was the god of controlled passion, a worthy adversary to Christian suppression of passion. Nietzsche pictured himself as a satyr, half man, half goat, a bridge between man and nature, an affirmer of life.  Will Graham sees Hannibal, after he realises that he is the killer they seek, as a faceless man with stag-horns, a windigo, a monster from Algonquian legend, transformed from human shape into a powerful creature driven by a lust for human flesh. Hannibal is Dionysus, in his form as satyr.

Hannibal is clearly a master of ancient Greek culture, telling Bella, as they discuss suicide (according to Sartre, the only subject worth discussing):

“Upon taking his own life, Socrates offered a rooster to the god of healing, to pay his debt. To Socrates, death was not a defeat…”

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There is of course a separate killer keeping the FBI team busy – a sweet, new agey woman who wants to put people out of their misery, taking away their pain with her herbal cures, in one case blinding a patient, in the other killing him and filling his head with bees. She is also, the team speculates, into mythological symbolism:

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Beverley discovers, after some broad hints from Hannibal, that the killer from last episode, the dude making mosaics out of corpses, is missing a kidney. This links the murder of the murderer to the Chesapeake ripper, who takes surgical trophies from his victims.

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Will remembers Hannibal’s first visit to his home in Season 1 Episode 1, with breakfast neatly packed in a picnic basket.

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Will realises that Hannibal was feeding him human flesh, and so he also is a cannibal, if innocently. And we know Jack has been dining regularly at Hannibal’s table.

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Bella has taken Hannibal’s musings about suicide to heart, and decided that the life Jack wants to preserve (hers) is of a quality not worth saving.

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She has taken a lethal dose of her morphine. Hannibal has reservations – not about death, which, we remember, he described as a cure. But about the effect on his friend, her husband, Jack.

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Life, death. They are no more than the flip of a coin.

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He revives her. She wakes up and gives him a pretty good slap, for someone who was nearly dead. Her view: he has robbed her of her release, her “cure”.

Meanwhile, Beverley is convinced of Will’s claims against Hannibal and goes snooping in his basement. This was never going to end well.

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Merely the ink from which flows my poem: HANNIBAL Season 2 Episode 3 “Hassun” (Fuller, 2014)

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Will is awaiting trial, and the FBI has offered a plea deal – but if he fights the case and loses, he’ll face the death penalty. The electric chair. We see him in that chair, smoke rising from his corpse, as the clock ticks – backwards. Like Vertov’s bull in Kino-Eye, he comes back to life. Then we see the executioner – it is Will himself, looking serious, and quite spiffy, in a suit.

He’s clearly anxious about the trial.

He buttons himself into a suit; so does Hannibal. They dress to the dalla sua pace aria from Don Giovanni. It is a song of anxiety – Donna Anna has asked her fiancé, Don Ottavio, to kill Don Giovanni in revenge. But all Ottavio can do is worry about her state of mind. Hannibal is feeling a bit guilty too perhaps, or is this his design? Anyway, he is creating a protégé from young Will, and doesn’t want electric chairs getting in his way.

Hannibal puts on cuff-links, while Will has hand-cuffs. Easy to confuse the two words.

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The Prosecution argues that Will killed and ate Abigail as her father had planned to do. Her father killed girls and ate them, so then did Will. The crime, although it’s a murder trial, is clearly cannibalism.

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Jack is called as a witness and dumps on the FBI case, taking the blame for pushing Will too hard, and pleading the Hannah Arendt defence: Will had objected to the name “museum of evil minds” because

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Will’s Defence lawyer opens an envelope and another ear falls out.

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Hannibal’s diagnosis: there may be another killer. He has sent this ear to help you prove you are not guilty. He is an admirer. Will is incredulous – an admirer?

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Hannibal speculates that the killer wants to be seen. Why?

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In court, it’s not getting better though. Freddie tells how Abigail believed that, like her father

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Chilton gives damning evidence, and uses Clarice’s line about Hannibal from Silence of the Lambs:

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Hannibal takes Will a folder of crime scene photos from the latest murder – the court bailiff who was killed: found burned, mounted on stag’s head, Glasgow smile and ear lopped off. The team are calling it “Will Graham’s greatest hits”. Will does his pendulum thing (obviously feeling much better) and sees himself kill the dude, but without it being, you know, personal:

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But Will sees that this is a different killer:

“Cassie’s lungs were removed while she was still breathing. Georgia was burned alive. What I found of Abigail was cut off while her heart was beating.”

Hannibal admits he knew that, but wants Will to use this as a defence, even though it’s a lie.

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Hannibal gets on the stand, and takes the oath, but Will sees through him.

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Hannibal lies for Will, saying it’s the same killer. It’s love, or as the prosecutor says, “his personal beliefs and biases are driving his conclusions.”

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The judge tosses out the defence. Hannibal is pissed. Not in control.

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Bad idea, judge. He is found holding the scales of justice. His brain on one side of the scales, his heart on the other.

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But there will be a mistrial. Will has a reprieve. For now.

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You are dangerous: “Sakizuke” HANNIBAL Season 2 Episode 2 (Fuller, 2014)

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Last episode we spoke briefly about the dude (played by Patrick Garrow) who is building an art work out of human bodies – he kidnaps them, kills them (usually) with a heroin overdose, and coats them in resin, and sews them together to form a giant eye, looking back, he hopes, at God. Let’s redefine “cannibalism”, for the purpose of this blog entry, to let this dude in – he is using human bodies for his appetites, in this case metaphysical ones. He may not be eating the victims (although who knows?) but he is certainly using them up, in large numbers.

He gets a bit sloppy, and one of the victims (Ryan Field), who has a high tolerance for opiates (the murder weapon of choice), escapes, first tearing off bits of his flesh that have been sewn to other bodies. This is what cannibalism texts do at their heart – they show the insides of the human body. They offend our sense of the clean, proper symbolic order by showing that inside, we are just animals, able to be treated like any other species, and torn apart to assuage appetite for food, visual arts, worship, or anything, really.

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Will is in the asylum, where he tearfully begs Alana and Hannibal for help.

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Has he begun to doubt Hannibal’s guilt, or is this a ploy? Hannibal’s plots are not always seamless – Bedelia has certainly seen through them. She comes to Hannibal’s office to terminate his psychiatric sessions. She has begun to question his actions – particularly with regard to her attack. Yes, we’ll hear more about that attack.

A toxic masculinity dance commences, where he advances on her and she steps back – he ends up in her face, where she tells him her conclusion, “based on what I glimpsed through the stitching of the person suit that you wear”:

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“Exactly, I cannot say. I’ve had to draw a conclusion based on what I glimpsed through the stitching of the person suit that you wear.”

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The FBI is still baffled by these dozens of missing people, although Beverley has visited Will with pictures, and he told her that the killer is choosing them for their skin colour – he is making a colour palette. He’s an artist! Hannibal can dig that:

We’re supposed to see colour, Jack. That may be all this killer has ever seen in his fellow man.

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Hannibal understands that – he finds killing easy too. In his fellow man, he sees dinner.

He also has the nose of a bloodhound, and can tell, from sniffing the latest body, that the victim ran through a cornfield. He discusses the case with Will in the asylum for the criminally insane, and Will confirms the artwork

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Hannibal figures out where there is a suitably private abandoned silo, near a cornfield, and near the river where the bodies were dumped. We see him surveying the area, wearing his killing suit (because dry cleaning is so expensive)

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He climbs on the roof, where there is a small opening, through which the “eye” can look up at God. When the killer appears, Hannibal greets him.

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The FBI find the crime scene, thanks to Will’s advice, but now the killer is stitched into it. In the silo full of bodies, Jack and Hannibal engage in some philosophical speculation:

Jack: How does a human being go so bad.

Hannibal: when it comes to nature versus nurture I choose neither. We are built from a DNA blueprint and born into a world of scenario and circumstance we don’t control.

Jack: Praise the mutilated world, huh? [This is a reference to a New Yorker poem after 9/11].

Jack: Ritual human sacrifice.

Hannibal: I’m not sure if it’s an offering but it’s a gesture. The eye looks beyond this world into the next and sees the reflection of man himself. Is the killer looking at God?

Jack: Maybe it’s some sick existential crisis.

Hannibal: If it were an existential crisis I would argue there wouldn’t be any reflection in the eye at all.

Jack: you say he doesn’t see people. He sees material.

Hannibal: Those in the world around him are a means to an end. He uses them to do what he’s driven to do.

Jack immediately sees his own reflection – he was using Will to do what he was driven to do [saving lives, which is not really the worst possible sin, but he’s still beating himself up about it].

They haven’t really figured out that the last victim is the killer, but they do manage to notice that he is missing a leg. Only Hannibal knows where that leg is. We see him cutting off the foot with an electric meat saw, to Beethoven’s 9th, and converting the shank into a nice Osso Buco.

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Will does his visionary thing for Beverley and realises that the killer’s body doesn’t belong.

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He sees stag-man looking through hole in the roof, but the eye remains fixed and unseeing, unless someone else sees him. That someone will be Hannibal.

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Will sees himself being sewn onto the eye by Hannibal. He remember Hannibal’s words from Season 1, episode 2:

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We see what really happened: Hannibal is cooking up heroin, reassuring the killer with classical references (because it’s comforting to know there is a Renaissance painting allusion available when someone is sewing your skin to some corpses).

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Why is the killer lying there letting Hannibal get on with his needlepoint? Well, it involves a religious crisis.

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Hannibal tells him:

“God gave you purpose – not only to create art but to become it…. Your eye will now see God reflected back. It will see you.”

Hannibal is well aware of Nietzsche’s concept that “God is dead” and that we, humanity, killed him, and therefore need to replace him. Hannibal is now looking down at the dying killer:

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Hannibal has done what he believes is best – finished the killer’s artwork, made him a part of it, given it a sacred content. Bedelia visits Will and tells him the same thing:

It may be small comfort, but I am convinced that Hannibal has done what he honestly believes is best for you.

She whispers to Will:

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Will’s doubts about Hannibal have been dissolved. Now there will be a reckoning.

Speaking of reckonings, Hannibal is back in his killing suit in Bedelia’s house – but the furniture is covered – she is gone. She’s left him a bottle of scent and he hears her words “you are dangerous”.

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No shit, Bedelia?

 

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