By Jack Simmons and Leigh E. Rich

A common theme in detective stories is the introduction of an archenemy—often a serial killer who rivals the protagonist in intelligence and cunning but clearly lacks a moral center. This “two sides of the same coin” trope heightens the suspense in the storyline not only because the hero and the villain stand toe-to-toe (or brain-to-brain), especially in the final face-off, but also because the constructed symmetry suggests that there is but a fragile line between “genius” and “evil genius.” In the television series Hannibal, FBI consultant Will Graham and the cannibalistic psychiatrist Hannibal Lecter seem on the surface to fit these roles. Upon closer inspection, however, the two characters share little in common: While the latter is a medically-trained psychopath, impeccably poised but devoid of compassion, the former’s talent for catching killers stems from his “remarkably vivid imagination” and rare capacity for “[p]ure empathy.” This empathetic understanding, a combination of rational and emotive deduction, enables Graham to “see” what the FBI’s behavioral and forensic scientists cannot: a contextualized and embodied view of another’s actions rather than a reconstructed and technologized myopia of the “evidence that counts.” Interestingly, it also allows him to recognize each killer as human, not as some wholly distinct and monstrous “other.” In this way, it is instead the members of the FBI’s Behavioral Science Unit—inculcated with a “professional distance” that tends to transform all subjects into objects—that are “just like” Lecter. Thus, rather than merely another round of rivalry between hero and antihero, Hannibal calls into question the “objective distance” of professionalism and emphasizes that “genius” (revelation) is rooted not just in reason but also in emotional and subjective experience, exploring cultural fears of the fuzzy postmodern constructions of science and the self. While empathy poses certain real risks (from which Will Graham and the rest of us are not immune), Graham’s character and the Hannibal television program suggest that, rather than undermining understandings of the world or ourselves, an empathetic approach to discovery is more authentic and ethical because it leads to greater recognition of oneself and others—and who we are in relation with others (identity as co-constructed)—as well as greater capacity to take responsibility for our actions.

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Simmons, Jack, and Leigh E. Rich. 2016. “Hannibal” and the horrors of hyper-rationality. Film and Philosophy 20: 82–105.