Well.. Unfortunately this amusing journey has come to an end. Yesterday I watched Hannibal’s last episode and I am still hooked on it.
I’m not a quiet media consumer, I literally devour everything I like (lol), the faster the better. However I wish I was more disciplined and patient this time around, since Hannibal is such a deep and complex work you can’t just binge watch it. If you’re too hasty you’ll end up missing some key points, affecting the whole experience. Every single line the main characters share is full of double meanings, layers on layers of lies and half truths that force you to constantly question your level of understanding.
The light is rarefied, usually diffuse rather than direct, the colors are cool-toned, never loud, with the exception of some intense flashes of red and orange. This contributes to create a deliberately somnolent, dreamlike atmosphere that accompanies the spectator through a meticulous, yet poetic inspection of the human unconscious.
The main subject of analysis is Will Graham, a man so skilled in understanding others the he usually loses himself. His “pure emphaty” is both a gift and a burden, something that makes him probably the most innocent being on hearth, a compassionate and merciful human mirror incapable of really condemn anyone, because he’s too prone to wear other skins, even if they belong to serial killers.
On the other hand we have Hannibal Lecter, an extremely conscious and self aware man that uses his strong personality as a defense and attack tool. He secludes his real self into a fake human suit, impervious to any intrusion. This perfect camufflage that acts like a solid shield allows him to undermine other people without being affected. Hannibal is basically the crafty puppet master always in control, while Will needs to be “contaminated” by humanity in order to better comprehend it. Apart from this fundamental difference, however, Will and Hannibal are tremendously similar. Both intelligent and condemned by an overly lucid vision of reality, they “feel things” deeply and can read the minds of other people as printed books. Many common traits attract these two men in a way that seems almost fatal.
Hannibal is soon interested in Will, although initially it is a simple professional curiosity: Will’s mind and his peculiar functioning are a frequent topic of conversation in psychiatric circles. Doctors and psychologists wonder whether Will is a genius or a psychopath. Hannibal’s approach is completely different. He doesn’t seek a demarcation line between madness and sanity, he doesn’t believe in psychotherapy either, or at least, he refuses the concept of a treatment that makes people more willing to be subjected to social conventions and morality. Hannibal is definitely a master manipulator, but I don’t think he has ever wanted to “shape” his patients. He aims for their darkest fantasies and fuels them, trying to bring them to light. His therapy is like wearing a pair of corrective lenses: you put them on and you see things you originally didn’t notice because you couldn’t focus well. Things that had ALWAYS been there, in your deepest core, denied and soffocated by fear and shame. Hannibal’s velvety voice is never imperative, it drives without force, it creates a sort of psychological malleability that allows you to find your true self, no matter how ugly it is, and leads to catharsis, unlimited freedom and inevitable destruction.
Without any moral qualms everything becomes possible and God himself turns from Judge to loving ally.
On a metaphorical bed of twisted personalities, the troubled relationship between Will and Hannibal develops harshly. It can be considered the true and only protagonist of the story. A LOVEstory in all respects, filled with courtship, burning passion, fear and desire for the other, tenderness, betrayal, redemption… Death.
Honestly I was pretty surprised by how much this mad love between Hannibal and Will seemed “right” to me. There is nothing canonically healthy in their relationship, yet they both find their own safe place in the other. At the end of the day, shouldn’t love be just like that? Ideally, love should allow us to acknowledge our most intimate nature, through the expression of desires that we would never reveal to anyone else. Love should make us feel safe and confident thanks to the reassuring awareness of being perfectly understood and accepted for what we are, no filters, no shame. In reality, however, we keep some barriers to protect ourselves and our loved ones. Boundaries makes life apparently easier, creating a comfort zone where we can recognize our intact individuality and protect it from contamination and excessive exposure. Humanity is just as coward as that… But wouldn’t it be nice to leave everything behind, every defense, every fiction, every useless embellishment? Wouldn’t it be nice to competely surrender to the other (desire becomes surrender and surrender becomes power)? Will’s answer to this question is yes, but only after a very rough path.
The first season is characterized by a strong relational asymmetry. Will is completely succube, he is sick and vulnerable, so he is eventually imprisoned for crimes committed by Hannibal. With the second season reality begins to be completely blurred. We are kept in anxious waiting, trying to find out if Will has truly become a killer without remorse, but in reality the most radical transformation is Hannibal’s. Such a huge metamorphosis projects itself subtly under our eyes and we’re too focused on other things to effectively catch it.
Hannibal lets himself being fooled by Will’s farce, he dangerously lowers his defenses and, as it happens to any “common” human being, he falls in love. He falls in love so deeply he begins to project a future with Will, far away from everything and everyone, the two of them caught in an everlasting artistic battle against this vulgar world. Actually the romantic family portrait in Hannibal’s fantasies involves two fathers (murderous husbands as Freddie Lounds would say) and a daughter to protect and educate. Abigail represents communion, affection and heredity. All of this comes to a cruel end when Hannibal discovers Will’s true intentions. Well, technically Will himself tells Hannibal to run away, but this is not nearly enough to what Hannibal wished for. He was laying bare in front of Will and Will ignored his feelings, or at least he violated his trust.
The third season leads us to a full closure. After a short period of separation Will and Hannibal meet again. They try to get rid of the yoke that binds them through different and useless attempts to kill each other. At some point the end up escaping death together and Will, full of doubts and consumed by a deep discomfort, allows Hannibal to flee. He asks Hannibal never to look for him again and assures that he would do the same. This is Hannibal’s equivalent to a terrible defeat, another painful rejection that drives him to a drastic decision: he lets himself being captured so that Will will always know where to find him.
The yoke is still there, around their throats, more lush but equally heavy.
Will tries his best to lead a normal life, he marries a nice woman and even takes the role of the perfect foster parent, but after three years of relative tranquility, the great red dragon makes its appearance and the fragile veil of stability is torn from its sharp claws. The great red dragon is a formidable catalyst: it symbolizes passion and raw nature, eroticism, primordial impulses that express themselves freely, away from the inquisitive eye of the Christian God.
Francis Dolarhyde physically drags Will to a point of no return, he forces Will to decide who should be saved and Will chooses: the last fig leaf rushes to the ground leaving him completely naked and finally free. Will kills the great red dragon that was an almost perfect work of personality construction and by doing so, he acquires enough power to finally abandon the “idea of duty”, the preconceived dimension of right and wrong. He embraces both Hannibal and himself at the same time, he forgives and fully understans the indomabile force of his feelings for Hannibal: by loving him he truly loves himself.
“It’s beautiful”: Will whispers full of emotion, soaked in blood, dark like the night, clinging to freedom and new awareness. He finds his peace after a terrible journey, he finds it in Hannibal and in the stormy waters of the Atlantic Ocean.
I don’t think it’s possible to write a more poetic death for this two fatal lovers… Hannibal finally reaches Will with the power of his endless, loving stare and Will accepts it as an anchor of salvation that drags him into a place of absolute spontaneity and security, the true paradise on earth.
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