Barely creating a financial ripple at the box-office in 1986,Manhunterhas since become regarded as a cult classic.
But Michael Manns earlier film, his personal take on the 1980 novelRed Dragon,stood in stark contrast.
By turns quiet and ferocious, the tone and pace ofManhunteris exemplified in Brian Coxs understated turn as Hannibal.
His version of the caged sociopath is cool and wryly intelligent, cunning and frighteningly intuitive.
Because, basically [producer] Dino De Laurentiis went bust and couldnt afford to make any more prints.
Dino never likedManhunter, because it reminded him of when times were bad for him.
Hed invested in this studio down in Wilmington, and he forgot that Wilmingtons where they have hurricanes.
The studio had a corrugated iron roof, which meant that sound was very hard to do.
The way the cult status gathered [aroundManhunter] was quite fascinating, because it was all by default.
When it opened, we had great reviews and we should have gone on.
The film did well critically, but he never got it out there.
And it was purely his own idiocy, because it was terrible mismanagement.
He was very psychologically sound, Michael.
He understood the ruthless psychology of the scene incredibly well.
He was that generation, who made all these amazing films.
So he was into that, he knew that corporate world.
And hed made a couple of films, he made one calledThief,which was wonderful.
He was very stylistic, and influenced by David Hockney.
You see a lot of David Hockney in Michaels work.
How did you approach playing Hannibal?
What was in your head as you were playing him?
Because hes quite an intellectual.
Hes got a thing about entitlement.
And then I realised that I do know one, which is my son, Alan.
And I remember thinking, yeah, I know, hes got that.
Ironically, when I look at the film now, and hes so like my son.
I keep thinking, Oh, its Alan!
It is very odd.
And hes grown up to be a very good actor, which is doubly strange.
I understand youd read the originalRed Dragonbook…
I did, I read the book, and I just loved it.
I particularly loved Francis Dollarhyde.
I particularly love the bit where he eats the painting.
They didnt do it in Manhunter, but I loved it in the book.
I was going to ask you about that, actually.
What did you think of the way Mann chose to adapt the novel?
His choices are visual ones, though he is, psychologically, incredibly smart.
I think his choices are image-led.
Hes got a great style in everything he does, and then, of course, theres the music.
So that always dates the film, for me, the score.
Visually, I think the films a hundred per cent.
Musically I think its 50 per cent.
He wanted to imply more, and I think he succeeded in implying evil rather than showing it.
All the videos of the families.
You know their fates, but he doesnt dwell on any of it.
Its way, way ahead of its time.
The chemical aspect of criminality.
That whole scientific thing.
Its quite a contrast to the Brett Ratner version.
Well, the Brett Ratner is… well, the less said about Brett Ratner, the better.
[Laughs] I think hes a very lucky stiff, Brett Ratner [Laughs].
Theyre two different animals, they really are.
Its like comparing two Hamlets, or two Lears.
He stood in the middle of the cell, and was completely upfront about who he was.
I start the scene with my back to the audience, so I can pull them in.
Im trying to seduce the audience in an entirely different way.
Whereas Tonys there, hes an indefatigable force.
Its a different style of film, and it works.
It has immense theatricality, and its powerful.
I thought that where Hannibal Lecter worked was as a character with mystery.
I blame Thomas Harris for this.
Harris fell in love with Hannibal Lecter, and undid him, in a way.
He undid his dramatic power, because that comes from what you dont know about him.
I felt that was Harris and Ridley Scott as well, later on.
Basically, it was the script it became slightly ludicrous.
But not because of Tony, because hes a great actor.
Hes one of our great actors.
Lecter became a kind of Universal monster, didnt he?
He became like a Peter Cushing or Christopher Lee thing, which is a shame.
I dont think thats what he was about at all.
It was overstated, really.
Your character inAdaptationis one that immediately springs to mind.
Are those parts more liberating in a way, as an actor?
Id rather leave audiences wanting more than feeling full up.
Making the hugest impact with the minimum of effort.
Ive been lucky.Adaptationis exactly a role like that.Manhunters a role like that.
My wonderful role in Spike Lees25th Houris one like that.
I cherish those roles, because all I needed was an arc.
Im playing Sir Matt Busby in a film about him [Theatre Of Dreams].
And Ive been in Australia, doing this TV series calledThe Straights.
Its about gangster smugglers, and its likeThe Sopranosbut with better weather!
Brian Cox, thank you very much.
Manhunter is out now on Blu-ray.
you’re free to read ourretrospective of Michael Manns classic film here.
