The Silence of the Lambsa film reflect the American society crimeThe Silence of the Lambs, based on the same name novel written by the famous novelist Thomas Harris, is deeply reflect the American society crime. The film inherited the tradition of the Hollywood horror film, but it has broken through the narrative mode of horror film, make an original way to detective thriller with artfully combined into a whole. This is a chilling psychological suspense film, the two leading role battle of wits, the former would like to use the latter escaped, the latter would like to use the formers psychological analysis to search for another killer. They had fantastic performances.Hannibal Lecter, a serial killer nicknamed Hannibal the Cannibal, once liked to feast on his victims, daintily, in a meal designed to complement the particular nature of the main dish. He would, for example, choose a nice Chianti to accompany a savory liver. A fine Bordeaux would compete. Hannibal Lecter is a brilliant if bent psychiatrist, now under lock and key in a maximum-security facility. Still at large, though, is a new serial killer, known as Buffalo Bill for reasons that cant be reported here. Bills habit is to skin his victims. At the beginning of The Silence of the Lambs, Jack Crawford (Scott Glenn), the F.B.I.s man in charge of Bills case, seeks the assistance of a bright young agent, Clarice Starling (Jodie Foster). Her assignment: to interview Hannibal (Anthony Hopkins), arouse his interest and secure his help in drawing a psychological profile of the new killer. The principal concern of The Silence of the Lambs is the entrapment of Buffalo Bill before he can kill again. Yet the heart of the movie is the eerie and complex relationship that develops between Clarice and Hannibal during a series of prison interviews, conducted through inch-thick bulletproof glass. Hannibal, as grandly played by Mr. Hopkins, is a most seductive psychopath, a fellow who listens to the Goldberg Variations and can sketch the Duomo from memory. Its not his elegant tastes that attract Clarice, and certainly not his arrogant manner or his deaths-head good looks. His smile is frosty, and his eyes never change expression. Its his mind that draws her to him. It pierces and surprises. Hannibal is one movie killer who is demonstrably as brilliant and wicked as he is reported to be. In their first interview, Hannibal sizes up Clarice from her expensive bag and cheap shoes, her West Virginia accent and her furrow-browed, youthful determination not to appear intimidated. Hannibal isnt unkind to her. He is at first skeptical and then amused. Finally he is seduced by her, at least to the extent that his egomania allows. She is flesh and blood and something more. As played by Miss Foster, Clarice is as special in her way as Hannibal is in his. She is exceptionally pretty, but her appeal has more to do with her character, which is still in the process of being formed. Shes unsure of herself, yet clear-headed enough to recognize her limitations. Clarice has the charm of absolute honesty, something not often seen in movies or, for that matter, in life. Shes direct, kind, always a bit on edge and eager to make her way. When Hannibal finally agrees to help Clarice, its with the understanding that for every bit of information he gives her, she will tell him something about herself. Because Hannibal, by nature and by profession, is an expert in prying, the questions he asks, and the answers he receives, both frighten and soothe the young woman. For Hannibal, they are a turn-on. Through the bulletproof glass, in dizzy succession, Hannibal and Clarice become analyst and analyzed, teacher and pupil, father and daughter, lover and beloved, while always remaining cat and mouse. Miss Foster, in her first role since winning an Oscar for The Accused, and Mr. Hopkins, an actor of cool and eloquent precision, give exciting substance to the roles written by Ted Tally, who adapted the screenplay from a novel by Thomas Harris. An earlier Thomas novel, Red Dragon, in which the homicidal doctor also appears, was the basis of the 1986 film Man hunter. Miss Foster and Mr. Hopkins are so good, in fact, that Clarice and Hannibal sometimes seem more important than the mechanics of The Silence of the Lambs, which is, otherwise, committed to meeting the obligations of a suspense melodrama. Mr. Demme meets most of these obligations with great style. The buildup to the dread Hannibals first scene is so effective that one almost flinches when he appears. Never after that, for good reason, does Hannibal become trusted, though he is always entertaining to have around. Eventually, though, the demands of the plot begin to take precedence over people and plausibility. Hannibal not only can help with the Buffalo Bill case, but he also knows who Buffalo Bill is. About halfway through, so does the audience, at which point the movie shifts to a lower, more functional gear