Last season, “Hannibal” left four of its main cast members dying on the floor as the titular Dr. Lecter (Mads Mikkelsen, “Casino Royale”) walked away free. With such a cliffhanger, one would expect answers in “Antipasto,” the Season 3 premiere. However, series creator Bryan Fuller (“Pushing Daisies”) continues to defy expectations held by his audience as he leaves the fate of Will Graham (Hugh Dancy, “Black Hawk Down”) and his allies unresolved and instead focuses in on the relationship between Hannibal and his therapist-turned-traveling-companion, Bedelia Du Maurier (Gillian Anderson, “The X-Files”).
Hannibal
A
Season Three Premiere
NBC
Thursdays at 10 p.m.
It’s this defiance of expectations that places “Hannibal” among the finest programs on television right now. Airing on NBC, “Hannibal” undercuts what has become commonplace on network TV. Since its first season, which had more procedural elements, the show has continually grown more sophisticated in all aspects, creating one of the most unique viewing experiences today.
Structurally, Fuller and his writers have crafted a series that plunges viewers into a story that walks the line between dreams and reality. In “Antipasto,” “Hannibal” weaves together the present, past and the unconscious. In the present, Hannibal takes on the identity of Dr. Fell (Jeremy Crutchley, “Salem”) and his position as a museum curator in Florence, Italy, with Bedelia posing as his wife.
Meanwhile, the past continues to inform on the complex relationship between the characters. Of all the characters, Bedelia might have the best understanding of Hannibal, but even she lacks a full comprehension of the monster underneath. In the aftermath of Hannibal’s massacre, she says, “You let them see you.” To which Hannibal replies, “I let them see enough.”
It’s this darkness underneath the calm demeanor of Hannibal that draws Bedelia in; the man is a monster, a refined one, but a monster nonetheless. As such, Hannibal exerts nearly complete control over those around him to the point where he has no challengers. “It’s only cannibalism if we’re equals,” Hannibal states, asserting his superiority. Nowhere is this dominance more apparent than in the flashbacks involving fellow killer Abel Gideon (Eddie Izzard, “Powers”). Shot in widescreen and black and white, the scenes depict Hannibal progressively feeding Gideon his own limbs (and making me feel guilty, thinking about how delicious it all looks).
Only in the nightmarish world of “Hannibal” can such a character exist. The visuals by director of photography James Hawkinson (“Community”) reinforce this terrifyingly surreal world. As Hannibal lectures on Dante’s “Inferno,” a projection of Satan superimposes itself over the killer’s face until the man is almost invisible, giving way to the demon. Shrouded in the shadows, the world of “Hannibal” consumes those who enter it. As Bedelia sits in a bath, she submerges into a bottomless pool of inky blackness with no end in sight as she comes to grips with her reality.
Escaping Hannibal is nearly impossible. Even when Bedelia tries to escape, she is only drawn further into Hannibal’s control. As Hannibal bashes a potential blackmailer (Tom Wisdom, “Dominion”), he forces Bedelia to move from an observer to a participant in his domain. The dynamic between Mikkelsen and Anderson anchors the relationship between the two characters. Mikkelsen has consistently been superb as Hannibal, alternating a demented charm and cold calculation. While Anderson, previously a guest star on the series, takes her place as a regular with flying colors. Bedelia is an incredibly intelligent individual, endlessly compelled by Hannibal while simultaneously frightened by what the monster inside the man can accomplish.
The greeting “bonsoir” is uttered more than once in “Antipasto.” With “Hannibal” back and its mastery of character-driven psychological horror elevating it into the ranks of must-watch TV, it truly is a “good evening” — just one that could be filled with nightmares.