Rani Baker Digs You.

It’s been 25 years since Silence Of The Lambs was released, and there have already been plenty of hot takes to go around. Recently, Jos Truitt over at Feministing posted an unflinching and thorough deconstruction of what the character “Buffalo Bill” represents to the trans community. Naturally, cis people completely lost their shit.

“How could anyone identify with a serial killer?” they lamented. Good point, it’s not like Hannibal Lecter wound up in four novels, five films, and a television series currently on it’s third season where he is the protagonist. Oh wait.

Dinner’s Ready.

Why is it considered ok to empathize with Lecter and not Jame Gumb? Both were brutal mass murderers known for short tempers and for mutilating their victims. Gumb was a gender dysphoric survivor of child abuse and neglect, and Hannibal Lecter was a calculating abusive manipulator that shut her off from medical care and murdered her boyfriend. So why do people root for Gumb getting gunned down yet also for Lecter’s escape and promise to kill again?

Seriously, check out the last couple minutes of Silence Of The Lambs again. Lecter all decked out like Truman Fuckin Capote bragging about “having an old friend for dinner”. He’s a triumphant anti-hero rather than a villain. And it gets worse with each subsequent film/tv depiction.

The answer is simple: Lecter represents the “good kind” of queer, and Bill represents the “bad kind”.

While I don’t share Truitt’s particular tattoo choice (although I have seriously considered both the spear wound and the “LOVE” hand tattoo), I do have a tramp stamp of “In Voluptas Mors”, and yes it is a reference to Silence Of The Lambs. I, also, have a bit of a soft spot for the movie. A particularly fascinating element of the movie is that it features two queer coded “sissy villains”, but coded in different ways and pitted against each other.

What’s that? Hannibal Lecter isn’t actually gay? That’s ok, because Jame Gumb “isn’t actually transgender”, right?

Meanwhile, the only definitely gay person in the movie is dead.

In the book, the infamous “tucking scene” also invites the reader to voyeuristically review Gumb’s hormone regimen, thinning body hair, voice training, electrolysis and even passing mention of breast development. This is presented with both a clinical air and a sense of disdain at the progress. But this is ok because Gumb is not “really transgender”, right?

Later in the book Agent Crawford threatens to have federal funding cut from the Johns Hopkins sex-reassignment wing and have the surgery re-classified as of non-medical necessity. There’s no telling how many transsexuals ongoing medical treatment were effectively being held hostage as an afterthought in this power-play. But this is ok because Gumb is not “really transgender”, right?

I’m sure there is also something to be said about namechecking the Johns Hopkins Trans Surgery wing as a plot point in the book, considering the actual one was shut down a decade before.

And even as Ted Levine’s lumbering, gangly tr*nny monster performance is frequently superimposed over depictions of the lives of trans folks, and the spectre of which haunts discussions of everything from “bathroom bills” to TSA clearances, Lecter represents the opposite of this stereotype. Lecter is theatrical without camp. He is effette but not effeminate. He drips with sarcasm and is impeccably refined and cultural and worldly.

The comparisons don’t stop there. In the novel, through Agent Starling’s feminist hero eyes she recognizes Lecter as “small, sleek, and in his hands and arms she saw wiry strength like her own” in contrast to Gumb’s frequently referenced large hefty frame. In the film, Lecter is depicted as deliberately clinical and meticulously clean, a contrast to the squalor of Gumb’s living area and poor hygiene and posture. Anthony Hopkins came up with the idea of having Lecter dressed in white in order to invoke imagery of doctors and dentists and peoples instinctive unease around them. But it also positions him yet again as an virtous-appearing authority figure. Perhaps this is why we are expected to continue to take Lecter’s gatekeeping of Gumb’s dysphoria at face value, despite the fact that it’s coming from a man restrained in a strait jacket and spitter’s mask.

“He’s not a transsexual, Clarice. He just thinks he is, and he’s puzzled and angry because they won’t help him.”

There’s almost definitely a “high/low functioning” mental illness dynamic going on as well that someone may choose to explore further down the line. How does nobody ever question Lecter’s capacity to make psychological diagnoses not only without clinical observation but while also himself deemed in a dangerous enough capacity mentally to warrant institutionalization?

Definitely someone with authority’s best interest in mind – Everyone Somehow

It’s not like positioning the audience to arbiter Lecter as a gatekeeper of queer sexuality is limited to his interaction with Jame Gumb. I mentioned earlier his murder of Gumb’s boyfriend, named after a leftist French intellectual. In the opening to the movie Red Dragon Lecter is literally shown in judgement of Raspail’s performativity, and Jesus Christ as Lecter scowls at Raspail’s unsatisfactory ability to blow the flute I’m sure Freud was doing cartwheels in his grave. And then, in the following scene, a bunch of progressive intellectuals giggle over Raspail’s missing status and subsequently nonperson him based on the same inadequate perfomativity Lecter judged him worthy of death over.

He’s either decided to kill a man or poop himself.

This sort of gatekeeping, this arbitration of judgement over folks less desirable is clearly the role the unexamined audience wants from Lecter. He returns to this role over and over and over, evolving from a useful monster to a justified protagonist in his own universe, while his gruesome body count silently grows.

Maybe y’all should re-evaluate what you consider so identifiable in Hannibal Lecter.

Tags: buffalo bill, feministing, hannibal lecter, jame gumb, johns hopkins, queer coding, silence of the lambs