The Silence of the Lambs (Widescreen Special Edition)
by Jonathan Demme
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DVD Cover Information
Actor: Anthony Heald, Anthony Hopkins, Jodie Foster, Scott Glenn, Ted LevineDirector: Jonathan Demme
Producer: Edward Saxon
Producer: Gary Goetzman
Producer: Grace Blake
Producer: Kenneth Utt
Producer: Ronald M. Bozman
Writer: Ted Tally
Writer: Thomas Harris
DVD: Region Code 1
Audio: English (Original Language), Dolby Digital 5.1; French (Original Language), Dolby Digital 2.0 Stereo; English (Subtitled); Spanish (Subtitled); French (Subtitled); Spanish (Dubbed), Dolby Digital 2.0 Mono
Format: Anamorphic, Closed-captioned, Color, Dolby, DVD, NTSC, Special Edition, Widescreen
Picture Format: 1.85:1
Running Time: 118 minutes
DVD Release Date: 2001-08-21
Audience Rating: R (Restricted)
Studio: MGM (Video & DVD)
Movie Reviews of The Silence of the Lambs (Widescreen Special Edition)
Movie Review: Not a good Blu-ray transfer comparing to the Criterion DVD
Summary: 2 Stars
This is one of my all time favorite movies. This is a five star movie and my two star rating applies only to the Blu-ray transfer. I have the Criterion Collection Edition of this movie. In comparing the Blu-ray edition and the Criterion DVD edition, I found the Blu-ray edition to have a less appealing color palette. It is somewhat bluish, less saturated, and sometimes looks magenta. The Criterion edition has an overall warmer tone. The movie itself also does not seem to benefit all that much from the higher resolution transfer either. I don't know if it's the definition of the film or if the transfer wasn't well done. You are not going to see the kind of sharpness you see on more recent Blu-ray transfers such as The Dark Knight or Revolutionary Road.
Excellent film, though if you have the DVD already it is probably not worth it to get the Blu-ray version.
Summary of The Silence of the Lambs (Widescreen Special Edition)
Based on Thomas Harris's novel, this terrifying film by Jonathan Demme really only contains a couple of genuinely shocking moments (one involving an autopsy, the other a prison break). The rest of the film is a splatter-free visual and psychological descent into the hell of madness, redeemed astonishingly by an unlikely connection between a monster and a haunted young woman. Anthony Hopkins is extraordinary as the cannibalistic psychiatrist Dr. Hannibal Lecter, virtually entombed in a subterranean prison for the criminally insane. At the behest of the FBI, agent-in-training Clarice Starling (Jodie Foster) approaches Lecter, requesting his insights into the identity and methods of a serial killer named Buffalo Bill (Ted Levine). In exchange, Lecter demands the right to penetrate Starling's most painful memories, creating a bizarre but palpable intimacy that liberates them both under separate but equally horrific circumstances. Demme, a filmmaker with a uniquely populist vision (Melvin and Howard, Something Wild), also spent his early years making pulp for Roger Corman (Caged Heat), and he hasn't forgotten the significance of tone, atmosphere, and the unsettling nature of a crudely effective close-up. Much of the film, in fact, consists of actors staring straight into the camera (usually from Clarice's point of view), making every bridge between one set of eyes to another seem terribly dangerous. --Tom KeoghBased on Thomas Harris's novel, this terrifying film by Jonathan Demme really only contains a couple of genuinely shocking moments (one involving an autopsy, the other a prison break). The rest of the film is a splatter-free visual and psychological descent into the hell of madness, redeemed astonishingly by an unlikely connection between a monster and a haunted young woman. Anthony Hopkins is extraordinary as the cannibalistic psychiatrist Dr. Hannibal Lecter, virtually entombed in a subterranean prison for the criminally insane. At the behest of the FBI, agent-in-training Clarice Starling (Jodie Foster) approaches Lecter, requesting his insights into the identity and methods of a serial killer named Buffalo Bill (Ted Levine). In exchange, Lecter demands the right to penetrate Starling's most painful memories, creating a bizarre but palpable intimacy that liberates them both under separate but equally horrific circumstances. Demme, a filmmaker with a uniquely populist vision (Melvin and Howard, Something Wild), also spent his early years making pulp for Roger Corman (Caged Heat), and he hasn't forgotten the significance of tone, atmosphere, and the unsettling nature of a crudely effective close-up. Much of the film, in fact, consists of actors staring straight into the camera (usually from Clarice's point of view), making every bridge between one set of eyes to another seem terribly dangerous. --Tom Keogh
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