Silence of the Lambs

One does not think of popular movies as being full of thematic content, of being full of questions about death, gender, mental illness, and life. Yet when I sit here and try to decide on a singular topic to write about from a movie that is teeming with them, it is an incredibly popular movie about which I write.

The Silence of the Lambs (1), a novel by Thomas Harris, which was later made into a film directed by Jonathan Demme, contains some element beyond pala table in our culture - it contains something that we as an audience crave (Before the class I , an average consumer, saw the film seven times). Like those Greek myths that survived for thousands of years from oral retelling ...

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between Starling and Lecter: Starling pumps Lecter for clues and cleverly jumps through a series of mental hoops to gain them, and Lecter systematically uncovers and enjoys her personal demons.

The story, however, is really abut Starling. She is the central figure in the book, a mix of things we all are - weak, and strong; scarred by the past, but exhilarated by the future; calculating, but compassionate. Although formidable , Lecter is merely a figurehead. His drama is over and done with, he is imprisoned, and, presumably his killing days are over. Starling is clearly the hero of the story. She struggles on so many levels, and wins. In an excruciatingly shameful scene Lecter extracts the painful truth of her background; the fact that she is "but not one step removed from poor West Virginia white trash," that she "looks like a rube, well scrubbed, in her cheap shoes." Clarice sits, horror struck, when Lecter cuts with startling immediacy to the heart of her motivation, ...

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the terrifying. This change in stance is ...that the terror of which he wrote came, not from Germany, but from the soul.

In this passage, what Griffith means is that unlike the previous Gothic works, which drew their horror from the dark landscapes external to the narrator, Poe's stories gleaned their horror from within the mind of the narrator. For example, whereas a protagonist in an earlier novel approaches a desolate castle and squelches the suffocating gloom by changing her perspective, the narrator in The Fall of the House of Usher (4) cannot. In the first case, it is the scene which impresses upon the protagonist, and in the latter, the gloom is within the protagonist. Thus, ...

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PAPER DETAILS
Added: 5/24/2011 09:39:09 PM
Submitted By: mbnxmfgnbnc
Category: Film & Theater
Type: Premium Paper
Words: 2793
Pages: 11

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