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Categories: Tattoos For Women | Author: admin 22.12.2013

I have not read The Girl With The Dragon Tattoo by Stieg Larsson and I have not seen the original 2009 Swedish film by director Niels Arden Oplev, and as such I am unable to draw comparisons to David Fincher’s latest film and his source material. Journalist Mikael Blomkvist, played by the always-stern Daniel Craig, is hired by wealthy retiree Henrik Vanger (Christopher Plummer) to investigate a forty-year-old case involving the disappearance and probable murder of his niece. The structure of the film is surprisingly appropriately lengthy given the nature of its whodunit thriller foundation. The climax of The Girl With The Dragon Tattoo would not seem out of place in a film such as American Psycho (2000). On a side note, I cannot help but address the initial promotion of The Girl With The Dragon Tattoo. Talk of the sequels has been bouncing around since the first film came out and the conscious seems to be very clear; they want the sequels to be cheaper. This all works perfectly for Fincher, who has been kind of hesitant to continue the series. Rooney Mara and Daniel Craig will be returning regardless as they’re contracted for all three (I believe).
Soon the two of them are swimming in a whirlpool of family secrets, scandal, and spiralling dread — a multi-plotted terror trap that the late Larsson kept up though all of the three Larsson novels as they became phenomenal bestsellers, and then became three world wide smash hit Swedish movies, and now have begun their latest career as presumed American film blockbusters. Noomi was one of the major reasons the Swedish films were so successful and so well-regarded; and it’s obvious that Rooney has modeled a lot of her own interpretation on her sexy, scary predecessor.
A bit more shy of the mark, I think, is Daniel Craig, the stalwart James Bondsman, who gives a very good performance by any normal definitions, but misses one key aspect. That’s something Craig and the others might think about in the upcoming sequels, where Mikael will face a lot more palpable or implied menace, and where, as here, it’s a major point of the story that he can’t quite cope with the threat, that he needs some of Lisbeth’s killer streak to be able to survive.
On the other hand, it’d be hard to top either Plummer, Skarsgard, Van Wageningen or Berkoff in their juicy archetypal thriller roles,  despite the memory of the very talented Swedish cast and their performances — especially all the irony and bottled rage and despair Sven-Bertil Taube put into the Swedish Henrik. So why do murder mysteries and detective yarns, film noirs and neo-noirs, still captivate audiences — and usually the smarter audiences — so much and so intensely? That’s the appeal of The Girl With the Dragon Tattoo in all its forms: as an addictive “good-read” novel, as an arty foreign film, and, now, as a Hollywood blockbuster. Personally, I would have preferred to see the Swedish Blomkvist reprise his role in the Hollywood adaptation as I didn’t really buy Craig’s performance (perhaps because I think of him as Bond?), but Rooney Mara was ASTOUNDING.
What I can assure is that Fincher’s Girl is as expertly crafted a thriller as one would expect from him.
Vanger and his family live in isolation on an island four hours away from Stockholm; his family members live in neighboring houses and are not neighborly. The reason for this is the successful character development of Lisbeth that is typically lacking in genre films.
In The Social Network, Mark Zuckerberg is socially secluded through his immature blogging and devotion to programming. I have mild forebodings about it, doesn’t seem like a film that really needed to be made. Yes, it did make around $231 million dollars worldwide on an estimated production budget of $90 million, but most of that was overseas. My favorite genres are horror, sci-fi and action (better be R-rated!) and I have a slight obsession with Blu-rays and the whole high definition craze. At least when it comes to playing superpunk, black-jacketed, neo-noir heroines with burning eyes, pierced eyelids and absolutely deadly temperaments.


Director Fincher (Se7en) and screenwriter Steven Zaillian (Schindler’s List) stay so remarkably faithful (so far) to the plot, characters and parameters of the original novel and hit Swedish movie, that a sense of neo-noir deja vu permeates the whole show.
Those Millennium novels, all published posthumously, followed the dangerous investigations of the fictional Swedish leftie journalist, Mikael Blomkvist (a character many feel was modeled on leftie journalist Larsson himself), into the mysterious disappearance, 40 years earlier, of Harriet Vanger, beloved great-niece of Mikael’s employer, Henrik Vanger.
He’s the elderly but still determined patriarch of a famous Swedish corporate family, an elite clan who prove to have numerous skeletons (besides possibly Harriet’s) rattling around in their mansion closets. A handful of critics and commentators have complained that Fincher and his screenwriter Zaillian, haven’t changed the story enough, this time around. Overall, it’s the sort of intelligent adult entertainment we keep asking for and don’t usually get from our blockbuster movies, but that both Dragon Tattoo and the recent John le Carre novel adaptation, Tinker Tailor Soldier Spy try to give us.
When we think of Lisbeth by now, we probably think of Noomi, and of the way she was dressed and made-up in the original movie directed by Niels Arden Oplev. In Fincher’s movie, Rooney is dressed and made up much the same, with a similar dead white face and black punk getup. He doesn’t look or seem as vulnerable as his Swedish counterpart Nyqvist — or as, say, Leo DiCaprio or Colin Firth or Daniel Day-Lewis or Matt Damon or even George Clooney might have made him. Perhaps it’s because most of us enjoy unraveling puzzles and identifying with the sleuths who can unravel them — and because the best of these stories imply that the world in all its mysterious tangles, can be fathomed, and that justice, in all its vagaries, is not as fragile as it sometimes seems, and that the confusion and chaos and horrors of life may sometimes, somehow, be finally straightened out, or at least understood. It’s a movie that works for lots of people and that doesn’t really need Noomi to survive — even though it’s nice to know that she’s still around, and that Lisbeth has still got her tattoo. I don’t wish to take anything away from Noomi Rapace (who was arguably very good), but Mara brought a vulnerability and ferocity to the role that was lacking with Rapace’s interpretation of Lisbeth Salander. The Swedish version has Anita’s phone being tapped, leading them TO Harriet in Australia.
However, as with some of his previous efforts, such as The Curious Case of Benjamin Button (2008) and Panic Room (2002), the technical aspects are more involved and sophisticated than the story being told. She is the soul of the film; its most interesting aspects relate to her story as opposed to the investigation plot. The film’s score is an extensive industrial and droning collage of icy coldness and femininity created by Nine Inch Nails’ Trent Reznor and Atticus Ross, who recently won an Academy Award for their scathing score of Fincher’s previous film The Social Network (2010). With any luck, studios will cut it off at one, the books get progressively less interesting as they go on. I still blame the Christmas opening, but others blame the general tricky nature of the film.
Will they simply cut back on talent or location shooting or perhaps hire a cheaper director? That being said, I think the things I did like about his film were trademark Fincher tones and filmmaking. But it should be obvious by now that most of the vast world audiences for these stories don‘t want them changed, and that number definitely includes most of the people who’ve already read the books or seen the Swedish movies. The images, thanks to production designer Donald Graham Burt and cinematographer Jeff Cronenweth, are chilly and mesmerizing; the convoluted plot unfolds with deadly clarity. If she doesn’t get the Golden Globe and at least an Oscar nomination, I will be very disappointed. If I remember the book correctly, Lisbeth just finds out in some documents that two Anita’s left the country, and they track her down in Australia that way. Putting this into perspective, I was introduced to the character Lisbeth Salander (Rooney Mara) by way of a one hundred million dollar Hollywood feature.


Henrik ensures a hefty payment and provides a small house on the island for Mikael to conduct his research and sleep in. Lisbeth is a young and fearful hacker who does not like to make eye contact with people unless she is comfortable or exerting her confidence in her work (investigating) and skill (hacking). Reznor and Ross’s work for this film is an indicator that they will probably deservedly become prominent Hollywood composers. In The Curious Case of Benjamin Button, the title character is segregated through his unnatural condition of aging in reverse.
As aggressive as the film may be, the advertising campaign should not feel obligated to strip Lisbeth in an attempt to showcase her dual-nature vulnerability and prideful confidence. Mikael (played in the original Swedish films by Michael Nyqvist), was hired by Vanger (and ensconced in a cottage on the Vanger private estate-island) to solve the Harriet mystery after losing (wrongly) a huge libel case filed by the corrupt business magnate, Wennerstrom, against Mikael‘s magazine, Millennium. Fincher is great at creating moods of nightmare and mounting dread, and that’s what Larsson’s plots require — though I still enjoyed Oplev‘s Swedish version a little more, because it was the first time around, and that’s when mysteries work best. It’s been a while since I read the book, so I may be off, but the US film changed it, for some reason.
And thus the procedure begins: the examination of old photographs, newspaper clippings, journal entries, and the questioning of family members. And Mikael, in turn, hires the unorthodox Lisbeth as his researcher, because of her incredible skills at digging facts out of the Internet — and because he isn’t put off by her fashion statements.
I intend to see the film for a second time and will be one of the first to buy it when it comes out on DVD.
She has tattoos, piercings, a black mohawk, and wears black leather jackets and baggy clothes. The cinematography and editing are as sleek and clean as Zodiac (2007) and The Social Network.
Those who are familiar with the actors in this movie can arguably detect the true identity of the antagonist early in the film simply by considering type casting.
The editors make this bulky material fast paced through rapid cuts and parallel plotting that keep a beat.
The antagonist constantly knows the investigator’s whereabouts and the investigator knows he is being watched. Lisbeth is told, “You need to be more sociable.” The first third of the film contains Lisbeth’s background information as well as a subplot that is not only introduced but also more-or-less resolved. We want her to break free from her purposeful isolation from others, but we know that she will remain self-imprisoned as long as her life continues down this path. During this time, Lisbeth is forcibly bound and raped to receive some money for food and then exacts her violent revenge on the rapist in a subsequent scene. There are two sides of Lisbeth shown here: her ultimate vulnerability and her ultimate authority.



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