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Co-Composed and Co-Produced by:

Co-Composed by:
Klaus Badelt
Martin Tillman
Mel Wesson
Patrick Cassady

Conducted by:
Gavin Greenaway
Rupert Gregson-Williams

Orchestration Supervised by:
Bruce Fowler

Co-Produced by:
Pietro Scalia

Performed by:
The Lyndhurst Orchestra
Liberia Boys Choir

Dialogue Performed by:
Sir Anthony Hopkins
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Decca Records
(February 6th, 2001)
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Regular U.S. release.
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   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if you have always appreciated Hans Zimmer's obvious insertion of his classical inspiration into his dramatic scores, for Hannibal well balances these elegant sounds with the necessary uneasy ambience.

Avoid it... if hearing yet another score from Zimmer that exposes his reliance on classical composers is as obnoxious to you as an album that obscures three of its best tracks with dialogue from the film.
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WRITTEN 2/2/01, REVISED 10/7/08
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Hannibal: (Hans Zimmer) Due to a lengthy series of problems adapting Thomas Harris's overdue sequel novel to Silence of the Lambs, ten years passed between the highly acclaimed 1991 Oscar-winner and Ridley Scott's subsequent Hannibal. Unquestionably, Silence of the Lambs swept through the world with its hauntingly brilliant acting performances, and Sir Anthony Hopkins reprised the title role in 2001's Hannibal with all the style that he could possibly muster. Ultimately, none of the other new players could provide the same provocative allure. Gone from the project are practically everyone else who worked to create Silence of the Lambs, including director Jonathan Demme, actress Jodie Foster, and, not surprisingly, composer Howard Shore. The script is most often cited as the reason for this exodus, and it is indeed the story's diminishment of the character of Clarice Starling that caused its demise. Scott's take on Hannibal is obviously dominated by religion, with Hannibal Lecter relocated to Florence and serving as a curator of the Palazzo Vecchio. The music for the sequel, therefore, takes on a similarly religious tone. The score for the 1991 classic was average at best, and while maintaining a following among Shore enthusiasts, it's a work that has been elevated by the composer's later successes rather than by its own merits. Both are superior to Danny Elfman's Red Dragon, the third film in the franchise. Scott once again employs the talents of Hans Zimmer and his team of Media Ventures artists for Hannibal, and although a healthy portion of the assignment was delegated to Zimmer's usual assortment of assistants, the work is mostly his own. While the director and composer collaborated to produce the blockbuster hit Gladiator the previous year, the score that results from their partnership in Hannibal cannot be any more different in terms of style.

Casual film score collectors, and especially those who first recognized and became fans of Zimmer's music upon hearing Gladiator, would be surprised to hear Hannibal, an effort that reaches back to some of the most poignant classical work that Zimmer has ever done. More than perhaps any other score in the man's career, this one exposes his obvious love of J.S. Bach and other classical writers. As such, it does not sound like a typical, electronic Media Ventures collaboration. The score for Silence of the Lambs was a smaller budget, typical horror entry from Shore that doesn't stand particularly well apart from the film. For Hannibal, however, a larger scale in the employment of music is incorporated into the final cut of the film. The director, of course, played a pivotal, executive role in the sound and feel of the music, and his final choice of genre very well compliments Sir Anthony Hopkins' character. Zimmer's score for Hannibal walks a fine line between tense psychological horror and refined classical elegance. To realize this tone, Zimmer leaves his synthesizers behind for much of the material and concentrates heavily on the strings of the Lyndhurst Orchestra to push the appealing, historical, and classical edge of the plot. The ensemble is comprised of strings, choir, and keyboarded accents, with little else necessary to convey the message. For Hopkins' refined, brilliant exterior, the strings perform in an adagio format of repetitious, alternating series of lengthy minor and major key meanderings by secondary string players. The violin section performs the entirety of the extremely subtle, but equally classically-formulated theme for the film, and together with a consistent piano, Zimmer is very successful in extending that refined classicism necessary for Hannibal's intelligence.

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Average: 3.74 Stars
***** 4,754 5 Stars
**** 2,581 4 Stars
*** 2,094 3 Stars
** 1,311 2 Stars
* 1,000 1 Stars
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How are you supposed to take the movie seriously...
Richard Kleiner - October 14, 2010, at 4:48 p.m.
1 comment  (2012 views)
Vide Cor Meum
julie - February 3, 2010, at 10:59 a.m.
1 comment  (2161 views)
Vide Cor Meum Score
Katrin - January 12, 2009, at 2:20 p.m.
1 comment  (2227 views)
Vide Cor Meum
Edwin - February 21, 2007, at 7:06 a.m.
1 comment  (2885 views)
track missing??
soundman - September 24, 2006, at 3:35 p.m.
1 comment  (2533 views)
Favorite piece from the soundtrack: Vide Cor Meum
Kelly Crutcher - July 31, 2006, at 11:33 a.m.
1 comment  (2563 views)

Track Listings Icon
Audio Samples   ▼
Total Time: 54:13
• 1. Dear Clarice* - dialogue by Sir Anthony Hopkins (6:02)
• 2. Aria da Capo - composed by J.S. Bach, from Goldberg Variations, BWV 988 - performed by Glenn Gould (1:48)
• 3. The Capponi Library* (1:14)
• 4. Gourmet Vaise Tartare - composed by Klaus Badelt (6:50)
• 5. Avarice* (3:54)
• 6. For a Small Stipend* (0:55)
• 7. Firenze di Notte - composed by Martin Tillman and Mel Wesson (3:09)
• 8. Virtue* (4:37)
• 9. Let My Home Be My Gallows* - dialogue by Sir Anthony Hopkins (10:00)
• 10. The Burning Heart* - dialogue by Sir Anthony Hopkins (4:24)
• 11. To Every Captive Soul* (6:55)
• 12. Vide Cor Meum - composed by Patrick Cassady/Libretto from Dante's La Vita Nuova - dialogue by Sir Anthony Hopkins (4:20)
* original score by Hans Zimmer

Notes Icon
The insert includes extensive credits, but no extra information about the film or score. At the time of the score's debut, Zimmer stated the following:

"This is the best love theme I've ever written. I keep telling everyone this is a romantic comedy, but nobody believes me. Ridley Scott and Gladiator made it possible for me to just play... it was a great way of rediscovering my joy in music. You have to remain flexible, and you must be your own critic at all times. You must have integrity, and you cannot let your 'brothers in arms' down. Everybody works very hard on a film; nobody sets out to make a bad movie. Just on a sleep deprivation level you owe it to others. I basically decided that there are two kinds of music: good music and bad music. If something happened where I couldn't write music anymore, it would kill me. It's not just a job. It's not just a hobby. It's why I get up in the morning."
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The reviews and other textual content contained on the site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Hannibal are Copyright © 2001, Decca Records and cannot be redistributed without the label's expressed written consent. Page created 2/2/01 and last updated 10/7/08.
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