Disparado o melhor dos três filmes de tribunal que eu vi dirigidos pelo William Friedkin (ainda me falta o Rules of Engagement) e também o seu melhor trabalho em 20 anos (e só não digo 30 ou 40 porque The Hunted foi o que saiu de melhor no cinema do século XXI).
De Rampage até The Caine Mutiny Court-Martial não houve apenas uma concentração na essência do drama de tribunal, o que já ocorria em 12 Angry Men, mas também…
One aspect that makes Hannibal quite exceptional, and that should probably be credited to David Mamet's initial involvement, is its structural concision and the acceptance of those figures as archetypical, preventing the subtextually charged material from becoming too literal on the screen, from overly psychologizing the procedures (as did Demme's The Silence of the Lambs). Scott makes a clever choice in emphasizing the abundant references to the long Italian tradition in representations which blurry the line between horror, beauty and…
When we get to the knife combat, there is no surprise in the way Friedkin approaches the scene, as his filmmaking is about constant conflict and there is not one moment in the film when interactions cease to be aggressive, even in the most banal communication between characters. All scenes are connected in a way that makes violent action incessant (just see the way flashbacks are presented) and the very open spaces in which these men have to operate are detailed only by their relation to it and how this will lead to brutal confrontation between them. Everything leads to self-destruction.
