NBC’s Hannibal, starring Mads Mikkelsen as the titular cannibal, has always been an artistic show at its core and here are the actor's two favorite scenes from it. Apart from featuring a frenetic storyline wherein Dr. Hannibal Lecter (Mikkelsen) and Will Graham (Hugh Dancy) are perenially entangled in a mad dance, Hannibal redefined visual storytelling on television. The philosophy of aesthetics in Hannibal is inevitably woven with the bizarre or the grotesque, breaking structural and visual boundaries via numerous scenes that remain unforgettable.
In an interview with Collider, Mikkelsen talked about the best moments from the show, along with deep dives into two scenes in particular that can be deemed his favorite. On being asked about his experience on Hannibal's set, Mikkelsen went on to comment about the show’s dark and surrealistic visual aspect and how it complements the narrative unfolding. Both of these examples highlight the use of the grotesque, one of the key concepts in Gothic horror, and how the show transforms its scenes into liminal artistic ecosystems.
Mikkelsen’s favorite scene includes a certain sequence from season 2, episode 1, “Kaiseki”, wherein Alana Bloom (Caroline Dhavernas) visits Will in jail after the latter is framed by Hannibal as the Chesapeake Ripper. Having been cornered and manipulated by Hannibal, Will completely loses his sense of self, exacerbated by the evidence of the apparent fact he killed Abigail Hobbs. Determined to help him recover his memories, Alana decides to use hypnosis and put Will in a trancelike state, and the scene in question transforms into a surreal fever dream. As Alana guides Will towards total mental surrender, she transforms into an inky creature of sorts and kisses Will tenderly. This particular vision is beautiful and haunting to behold, as it helps capture the strange caverns of Will’s subconscious mind and its symbolic tie to reality.
The second scene Mads Mikkelsen prefers is the long sequence towards the end of season 2 finale “Mizumono,” where Hannibal wounds Jack Crawford (Lawrence Fishburne) and guts Will while pulling him into an embrace. Mikkelsen describes this sequence as “very emotional” and a “fantastic balance between the monster and the man with empathy”, which sums up the scene beautifully. Hannibal, feeling betrayed by Will, kills his darling, carving out his stomach in a manner that can be described as both cruel and intimate. This act symbolizes a physical and metaphorical severing of the bond between them, a process deemed more painful when Hannibal slashes Abigail’s neck in front of a bleeding Will.
The last 20 minutes of “Mizumono” remains one of the most haunting sequences in Hannibal, one imbued with an incredible amount of loss and pathos. While Hannibal’s actions as a character are steeped in cruelty, we also see a glimpse into the softer aspects of the man, which Will had mistaken for glimmers of hope or a chance at redemption. While a battered Alana lies immobile near the doorstep, Hannibal steps out into the rain, washing away his lingering ties to Will and the man he could have been. Needless to say, it is understandable why Mads Mikkelsen would hold this sequence in such high esteem, as it is absolutely worth the praise.
source https://screenrant.com/hannibal-show-mads-mikkelsen-favorite-scenes/
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