Manhunter: Review

Michael Mann's 1986 thriller Manhunter is a fine film from a burgeoning master, a proving ground for him to attempt many of the techniques he would go on to perfect, many of which work surprisingly well. That being said, any comparison this film gets to 1991's Silence of the Lambs, directed by Jonathon Demme, are unwarranted as Lambs trumps Manhunter in every category, one a undeniable masterpiece, the other an interesting and entertaining promise of things to come. Mann, in just his third theatrical feature film, displays glimpses of his tremendous trademark style yet slips into some of the pitfalls that dominated many of the thrillers from the 1980's. While it's obvious that he possesses a gift for technique and composition, Mann lacks some of the more subtle modes of narrative that he would later develop as he matured into the cinematic visionary he is today.

The film follows Will Graham, an FBI profiler, tracking a killer nicknamed the Tooth Fairy. As the film progresses, Graham becomes more and more enraptured with his quest to stop the next killing, which will take place upon arrival of the next full moon. William Petersen, who plays Graham, delivers a fine, if unspectacular performance, relying quiet fury that grows with each step closer to the fateful day. His emotional outbursts as the day draws ever closer are effective and convincing. Petersen, who would later go on to lead in the massively successful CSI, is the film's emotional center and he is rather successful in carrying the narrative, both physically and emotionally towards the story's conclusion. His performance is diminished by his speaking the supposed thoughts of the Tooth Fairy as he attempts to recreate what the vicious killer was thinking as he prepared himself for his incredibly violent acts. These moments are often too corny to really create the tension Mann is obviously trying to create. Partially the fault of the screenplay, partially the fault of Petersen, had these parts been exorcised from the final cut, or rather illustrated through physical actions than verbal expressions, the entire film may have had a creepier feeling.

The rest of the supporting cast is in fine form. Tom Noonan, who plays the aforementioned Tooth Fairy contributes an often times creepy, other times downright imposing performance. His cold, detached nature is a perfect foil for Petersen's emotional fury and both play off each other well. The dichotomy between the two provides the film with its thematic and emotional center, both of which become incresingly complex as Graham slowly sinks deeper and deeper into his obsession. Brian Cox, who unfortunately will be known as the other Hannibal Lector, doesn't come close to Anthony Hopkins' Hannibal but still manages to create a frightening performance, which is more subdued and subtle than Hopkins' take. While Hopkins' performance is a more effective attempt at the character, Cox's Lector is a breath of fresh air from what is now considered the norm. The always reliable Dennis Farina is good as Graham's superior and Joan Allen makes the most of her screentime and creates a character that complicates Noonan's role.

Mann, however, is the true star here and in the hands of a lesser director, Brett Ratner (who directed Red Dragon, a different take on the Manhunter source novel by Thomas Harris), the film would be much less successful than it is. This isn't to suggest that Red Dragon isn't successful, in fact its underrated, but Mann takes the material, processes it and creates a visually striking, suspenseful work that suggests greater things to come. Its opening sequence, seen through the first person eyes of the Tooth Fairy during the film's first killing, is mesmerizing, achieving instant success despite the fact that the audience doesn't have a clue who these people are. However, through Mann's camera movements and lighting, it becomes clear that the eyes through we view this narrative world are evil and that the apparent victims in the house are in danger and as the audience, we plead for nothing to happen. Mercilessly, the being moves slowly through the house, up the stairs and into the bedroom then just as something appears ready to happen, Mann cuts away, leaving the scene entirely only to revisit it minutes later. The suspense is magnetic and effective and it becomes clear that Mann is a director capable of directing suspense that is rivaled by few modern, current directors.

The choice of surroundings are inspired, the cold, sterile, clean lines of 80's architecture providing the film with a strange and creepy elegance. The film, for the most part, is brightly lit, the exact opposite of Silence of the Lambs' dirty darkness and it works tremendously well. Rather than intensify any feelings of suspense, the film's coldness distances it from the viewer which in turn, further adds to its increasingly creepy feeling. It is a difficult feeling to describe but when watching the film, it makes sense. In Manhunter, Mann's craft is still in its simplest stages, not even reaching close to the operatic, almost abstract nature of some of the shots and compositions in his most recent Miami Vice. Yet the seeds are being planted before the viewer's eyes. Certain shots are obvious predecessors to the striking digital cinematography of Dion Beebe in Collateral and Vice and it becomes clear as the film rolls along that Mann is gaining confidence with each sequence. Music and visuals are perfectly joined, particularly the climatic sequence, which brilliantly uses Iron Butterfly's "In A Gadda Da Vida" to increase tension and suspense. For anyone who considers themselves a fan of Mann's later works, this should be required viewing. To those who enjoyed Silence of the Lambs, this is an interesting side note and finally, for those who enjoy a solid thriller, they should look no further than Manhunter, despite its flaws.

****/*****