From Thomas Harris’s novel, director Jonathan Demme explodes and reconstructs a classic genre, laying a foundation of emotional and political commitment beneath a perfectly constructed psychological thriller. Fourteen years after her controversial role in Taxi Driver, Jodie Foster finally makes the transformation from helpless victim to rescuing hero in this dark, gender-bending fairy tale of an American obsession: serial murder. As Hannibal “the Cannibal” Lecter, Anthony Hopkins is the archetypal antihero—cultured, quick-witted, uncontainable—a portrait of all the sharpest human faculties gone diabolically wrong. Winner of five Academy Awards, including Best Picture and Best Screenplay Adaptation for Ted Tally. —The Criterion Collection
Robert Jonathan Demme (born February 22, 1944) is an American filmmaker, producer and screenwriter.
Demme was born in Baldwin, New York, the son of Dorothy Demme and a public relations executive father. Demme has three children: Ramona, Brooklyn, Josephine. He is a graduate of the University of Florida. He also was the uncle of director Ted Demme, who died in 2002.
Demme broke into feature film working for exploitation film producer Roger Corman from 1971 to 1976, co-writing and producing Angels Hard as They Come and The Hot Box, then directing three films (Caged Heat, Crazy Mama, Fighting Mad) for Corman’s studio New World Pictures. After Fighting Mad, Demme moved on to direct the comedy film Handle with Care for Paramount Pictures in 1977. The film was well-received by critics, but received little promotion, and performed poorly at the box office.
Demme’s 1980 film Melvin and Howard did not have a wide release, but received widespread critical acclaim, and led… read more
Definitely one of the best movies ever made! I just don't get tired of it, the smart direction, the well-structured script, the marvelous performances, the haunting music... PERFECT!
Also: Best of 2011 from the San Francisco Bay Guardian, In Review Online and more. And 11-year-old Scorsese’s storyboards.
Le dernier souvenir que je possédais de ce film datait de la fin de mon enfance, c’est dire si ça date lorsque j’ai vu Le silence des agneaux pour la dernière fois. A l’époque, il m’avait pas mal marqu… read review
It is a creepy and taken-by-storm experience with the film, background music is darker than the film itself and too ominous, plot is brilliantly constructed, conversations are thought-provocative… read review
Whenever a character breaks the so called fourth wall by looking into the camera and thus, into the audience of a film, its purpose varies from either being a direct confrontation or a kind of siding… read review