Tuesday, 8 October 2019
Don't Fall in Love
Thomas Harris's Hannibal Lecter novels are a case study in what goes wrong when a creator falls in love with a main character. In Red Dragon, Lecter is a sinister and inexplicably malicious psychopath who seems to be a minor plot point until he becomes the joker in the pack right at the end. His presence is a tour de force. In The Silence of the Lambs, he is a mysterious and compelling anti-hero, brilliantly rendered. But something happened to Harris in the course of writing that book. He started to get carried away with this Hannibal Lecter fellow. By the time Hannibal is completed Lecter is practically a demigod and his every word and action has turned into high camp. He's impossible to take seriously. With Hannibal Rising we get a descent into farce with a laughable origin story complete with Nazis (of course), a ludicrous, sexy suicidal Japanese femme fatale, and, well, an explanation for Lecter's descent into psychopathy that it is charitable to describe as implausible.
Harris's love for Lecter became his downfall. Not in terms of his bank balance, I'm sure. But as a serious author his reputation is forever shot.
Something similar happened to George Lucas. George just couldn't let Darth Vader be. Pause at the end of The Return of the Jedi and we have a highly satisfying resolution of that character's "arc", as I believe the cool kids call it nowadays (and of the entire trilogy itself for that matter). But George was a fool in love. He couldn't leave well alone. Like an over-eager suitor, he came on too strong. Incapable of having a good first date and then giving the girl some space, he had to call. And call. And call. The inevitable result then followed.
Origin stories are bad news. They sell tickets. But they disappoint. There was never any way for Harris to provide a reason for Lecter being what he is which would have been anything other than an anticlimax. It's the same with Darth Vader: no explanation for why Anakin turned to the dark side could possibly have matched the audience's expectations. Not because the audience would have had a good explanation themselves - it's not that good characters are mysteries who call on the viewer or reader to try to fill in the blanks. It's that good characters are mysterious in such a way that their "blanks" appear so deep, complex or terrifying that their existence alone is a thrill. We didn't like the Hannibal Lecter of Red Dragon or The Silence of the Lambs because we wanted to speculate about what turned him into a cannibalistic serial killer. We liked him because he appeared to us to be inexplicable, and thus made us shiver deliciously at the prospect that evil is out there and cannot possibly be rendered banal by being understood.