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This film beefs up Lecter's role, opening with a prologue that finds him annoyed by a sour note in his favourite symphony orchestra and then serving the offending flautist at a dinner party before FBI profiler Will Graham (Edward Norton) drops by to apprehend him. Then, we pick up with Lecter in his asylum cell and Graham retired with trauma, only to be brought back together by the crimes of a new madman, the Tooth Fairy. Graham consults Lecter on the case, which means some pointed and familiar conversations, and the film shifts focus from the investigation to the life and troubles of the mad and murderous but also abused and sympathetic Francis Dolarhyde (Ralph Fiennes, with a major tattoo and a harelip).
Director Brett Ratner is more like a job-of-work man than the geniuses who have made the earlier movies, and he doesn't quite restrain Hopkins enough. It's also hard not to compare the current cast with Mann's excellent players. Still, Red Dragon is a solid film of great material, with all the sudden shocks and disturbing whispers in places. Also with Harvey Keitel as the FBI boss, Emily Watson as Dolarhyde's blind love interest, Philip Seymour Hoffman as a tabloid sleaze and Mary-Louise Parker in the thankless role of imperilled wife. --Kim Newman
Clearly a major strength of this film is the stellar caste, which in addition to Hopkins has Edward Norton, Ralph Fiennes, Harvey Keitel, Emily Watson, Mary-Louise Parker, Philip Seymour Hoffman, Anthony Heald, and Mary Beth Hurt (add to the list Ellen Burstyn as the voice of Grandma Dolarhyde). But what makes this film work is its intelligence, for which Harris and Tally get the credit. Will Graham is an intelligent man, an F.B.I. profiler who constantly shows throughout this story that he has a gift for saying the right thing, whether he is talking to Lecter, a room full of police officers, the head of a company, or the Red Dragon himself. Yes, he has been scarred psychologically as well as physically by his capture of Lecter, but it is not an incapacitating condition as was the case with Clarice Starling. In "Silence of the Lambs" the climax of the film involved a cinematic commonplace that has always enraged me, when a law enforcement officer has a gun drawn and aimed at a suspect who then manages to get away. I thought the climax of "The Red Dragon" involved an exhilarating series of intelligent, brilliant moves by the good guys.
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