Producer Dino De Laurentis, who owned the rights to the Lecter character and had produced Mann's Manhunter, but not Silence, was eager to capitalize on the Lecter gold mine with Hannibal and approached Ridley Scott. Scott's one of my five directors, in fact along with Steven Spielberg and George Lucas, he was the first director I knew by name and looked for his films. I'd seen Alien with my dad at the age of five and was forever effected by it. Later it was the same with Blade Runner. Scott is a stylish director who has tackled many different types of stories through his career and for my money he's always been pretty damn successful. Scott had some initial reservations about coming aboard, one, he wanted to make sure he wasn't stepping on Demme's toes and two, something had to be done about that ending.
Probably the most controversial thing about Hannibal the novel was the fact that it ends with Lecter
Hannibal was going to be a hard road regardless of who was involved or what ending the film had. Silence in both book and film were massively successful, multi-award winning, and had a rabid public with high expectations for a sequel. That's almost always a recipe for disaster and few franchises are able to deliver sequels as good as the original.
However, the screenplay was written by David Mamet and Steve Zaillion and Julianne Moore was cast to replace Foster. In Part One of this series I expressed my overall disappointment with Moore in the role, but I want to say again, it was not because she did a bad job, it was because Foster was imprinted in my mind so deeply, that anyone else in that role would be distracting. It could also be that Starling in Hannibal was now a seasoned, hardened ten year vet with the Bureau, so the natural innocence that Foster brings to everything she does might have hindered the movie. Who's to say? In the end it's a minor gripe and Moore is a tremendous actress. Scott also brought in production designer Norris Spencer, cinematographer John Mathieson, and composer Hans Zimmer, all of whom Scott had worked with in the past, which helped to give Hannibal a very 'Scott' feel.
Not that the third act didn't have one spectacular highlight, namely Lecter removing the top of Ray
I get it though, Hopkins remained magnetic on screen. The way he delivered his lines, the way he moved, the life he brought to the role. They really would not have had a movie had Hopkins declined to return.
There are four different Lecter "universes"; The Hopkins, The Rising, The Mann, and The Fuller. We're only concerned with The Hopkins right now though, which is Silence, Hannibal, and Red Dragon (which is a remake that basically exists to correct what DeLaurentis considers the mistake of Mann's Manhunter). All three films are so tonally different that they have to be judged more on their own merit than as a whole. Having three different directors, with three distinct styles doesn't help. The books though can be easily compared and ranked, with Silence and Dragon being strong than Hannibal and Hannibal Rising, which are both very strong books at the end of the day. Back to Hannibal the film though, I think the critical response was due more a misperception and/or prejudged misconceptions about what the film was and was not. How could anyone had gotten around that though? Silence was a juggernaut and Hannibal was doomed to wither in it's shadow before a single frame was shot.