The Silence of the Lambs

An FBI trainee (Jodie Foster) is sent by the head of the profiling division (Scott Glenn) to interview the incarcerated, diabolical, extremely intelligent sociopath Hannibal Lecter (Anthony Hopkins) as a last ditch effort to catch a fellow serial killer (Ted Levine), the stakes soon being upped when a Senator's daughter is abducted. I recently revisited the dark, brooding chambers of Jonathan Demme's masterful Silence of the Lambs after reading Thomas Harris' novel (also spellbinding) which had the uncanny effect of only enhancing an already consummate film, by giving me a head start on the names and plotting which allowed for greater focus on the craft and acting. Hopkins gives an iconic, unforgettable performance, one which he has not been able to live up to since, and one which dominates the whole movie even though he is only on screen for a relatively short while compared to Foster who has the tougher, less flashy acting task and delivers marvelously nonetheless. Levine also gives a creepy and odious villainous performance. Demme's film is first rate from top to bottom, with a crackerjack screenplay from Ted Tally, amazing cinematography from Tak Fujimoto, and scenes of palpable tension in scenarios ranging from psychological to immediate danger.

The Manchurian Candidate

In this remake of John Frankenheimer's exemplary 1962 original, not much has changed: Denzel takes over for Sinatra, the commies are now terrorists funded by a shadowy global economic group, and Raymond Shaw still has mommie issues in the worst way. Jonathan Demme's The Manchurian Candidate calls to mind an obvious question and one he should have answered the first time he did a disservice to a class with The Truth About Charlie which is why remake a classic, especially one like Franenheimer's which may have been as perfect as any movie has been? Watching this film (which is well made to its credit) I couldn't help measuring it up to the original: Liev Shreiber is no Laurence Harvey, Kimblerly Elise is a horrid replacement for Janet Leigh, and even Meryl Streep can't match Angela Lansbury's icy malevolence. I did find Denzel's work to be solid. I am not sure if Demme drew from the original screenplay, from Richard Condon's novel, or went off on his own tangent, but more is explained but even less is gained. Demme is a an excellent filmmaker who has made some great works in several genres (Silence of the Lambs, Stop Making Sense, Rachel Getting Married) when he has not spent his time trying to fix pristine classics.

Stop Making Sense

"Stop Making Sense" is one of the great concert films, right up there with "Woodstock" and "The Last Waltz", and can be credited to the abilities and visions of David Byrne and director Jonathan Demme. The movie is a filmed performance of Byrne's new wave band Talking Heads, which Byrne staged himself. The entire show is bursting at the seems with energy as the band performs favorites such as "Once in a Lifetime", "Got a Job", and "Burning Down the House" as Byrne struts around the stage in his oversized suit in an incredible vocal and guitar performance. He is also given great support by fellow bandmates and onstage guests. "Stop Making Sense" is an immensely enjoyable film that takes us back to time when popular music was innovative and energetic.

Something Wild

A straight and narrow tax accountant and family man (Jeff Daniels) pockets the check in an NYC diner and is caught by an impulsive young woman (Melanie Griffith), who offers him a ride back to the office. Instead the two embark on a spontaneous road trip where the two fall in love, engage in acts of petty crime, and return to her hometown where they visit her mother and attend a 10 year high school reunion where they pose as a married couple. At this point things take a violent turn as the woman’s husband (Ray Liotta) enters the picture, having just being sprung from the joint. Adept director Jonathon Demme’s Something Wild is an offbeat kinetic love story, the likes of which is not seen in today’s cinema. Made during the apex of 1980s greed, it also strives to be a condemnation yuppie culture. The actors fit well into their roles and are played conviction and likability. Daniels sincerity helps us empathize with his character’s situations and decisions. Griffith, with her girllike voice and Pandora’s Box wig (she even introduces herself as Lulu) make her character brazenly sexy and sympathetic at the same time. Finally, Ray Liotta is a particular standout in his first major role as a psychotic yet somehow charming ex-con and that trademark sinister laugh. Something Wild is a true original and a film that dared to break the mold of factory made Hollywood love stories.