Hannibal: Original Motion Picture Soundtrack
Academy Award-winning composer Hans Zimmer has created a blood-pumping dramatic score for Hannibal that pulses with Wagnerian intensity. Sir Anthony Hopkins’s monologue on three tracks adds a dimension of hair-raising eeriness to the already deeply affecting and suspenseful instrumental backing. (Just hearing him first enunciate on the opener “Dear Clarice” sets up the Pavlovian sense of dread.) Hopkins’s Hannibal Lecter is still on the prowl 7 years after FBI agent Clarice Starling first interviewed the criminally insane doctor (and 10 years since…
Academy Award-winning composer Hans Zimmer has created a blood-pumping dramatic score for Hannibal that pulses with Wagnerian intensity. Sir Anthony Hopkins’s monologue on three tracks adds a dimension of hair-raising eeriness to the already deeply affecting and suspenseful instrumental backing. (Just hearing him first enunciate on the opener “Dear Clarice” sets up the Pavlovian sense of dread.) Hopkins’s Hannibal Lecter is still on the prowl 7 years after FBI agent Clarice Starling first interviewed the criminally insane doctor (and 10 years since The Silence of the Lambs hit the theaters). This sense of uneasiness is captured alternately by deep, sustained notes and the rapid attack of a full-throttle orchestra. Whether it’s the dark, tonal clusters of “Firenze Di Notte”; the desperate, descending notes that punctuate “Virtue”; or the chorale solemnity of the 10-minute “Let My Home Be My Gallows,” the intent to horrify never waivers. —Rob O’Connor
After two of the most riveting thrillers ever set on American soil, the serial-killer Hannibal Lecter faces FBI agent Clarice Starling in Florence. Composer Hans Zimmer, following the success of Gladiator, is swiftly reunited with director Ridley Scott, and takes a very different musical path from Howard Shore’s austere score for The Silence of the Lambs. Paying regard to the Viennese setting and Lecter’s cultural refinement, Zimmer’s music features many classical allusions. There are nods towards Mozart, an off-key, subtly disturbing Blue Danube and darkly beautiful choral passages evoking sacred mass and the Dies Irae. Alongside some particularly lush and effective string writing, and echoes of Jerry Goldsmith’s Viennese thriller music for The Boys From Brazil, fear-laden, digitally pulsating soundscapes are kept to a minimum. Anthony Hopkins delivers three of Lecter’s monologues which, while effectively done, will become less welcome with repeated playings. Both The Assassin and Beyond Rangoon demonstrated Zimmer’s talent for haunting melody within a thriller context, and for Hannibal he has surpassed himself. There is a Gothic, melancholy grandeur to much of this score, the Wagnerian rapture of “To Every Captive Soul” and the serene, elegiac finale making this a morbidly enchanting musical dream. —Gary S. Dalkin
Seven years have passed since Dr. Hannibal Lecter escaped from custody, seven years since FBI Special Agent Clarice Starling interviewed him in a maximum security hospital for the criminally insane. The doctor is still at large, pursuing his own ineffable interests, savoring the scents, the essences of an unguarded world. But Starling has never forgotten her encounters with Dr. Lecter, and the metallic rasp of his seldom-used voice still sounds in her dreams.
Mason Verger remembers Dr. Lecter, too, and is obsessed with revenge. He was Dr. Lecter’s sixth victim, and he has survived to rule his own butcher’s empire. From his respirator, Verger monitors every twitch in his worldwide web. Soon he sees that to draw the doctor, he must have the most exquisite and innocent-appearing bait; he must have what Dr. Lecter likes best.
Powerful, hypnotic, utterly original, Hannibal is a dazzling feast for the imagination. Prepare to travel to hell and beyond as a master storyteller permanently alters the world you thought you knew
Yes, he’s back, and he’s still hungry. Ten years after The Silence of the Lambs, Dr. Hannibal “the Cannibal” Lecter (Anthony Hopkins, reprising his Oscar-winning role) is living the good life in Italy, studying art and sipping espresso. FBI agent Clarice Starling (Julianne Moore, replacing Jodie Foster), on the other hand, hasn’t had it so good—an outsider from the start, she’s now a quiet, moody loner who doesn’t play bureaucratic games and suffers for it. A botched drug raid results in her demotion—and a request from Lecter’s only living victim, Mason…