Mikael Blomkvist (Daniel Craig) is a journalist suffering from a recent setback of being sued in a libel case.
Being the second original score for a Fincher film in as many efforts, Reznor and Ross have made a huge accomplishment in their knack for musical composition in film. While it is still unsure about David Fincher’s involvement for the second and third installments of the trilogy, they should be made nonetheless. The first comment I have about film The Girl with the Dragon Tattoo is that its images remain vivid to me. A haunting and relentless film, based on the novel by Steig Larsson, The Girl with the Dragon Tattoo concerns a disgraced investigative journalist, Mikael Blomkvist (Michael Nyqvist) and a tattooed, deeply troubled, asocial but indomitable computer hacker, Lisbeth Salander (Noomi Rapace). Harriet Vanger had disappeared from the Vangers’ private island when the bridge to the mainland was closed. For most of Steig Larsson’s tireless writing career, he wrote books and magazine articles about the dangers of right-wing extremism and neo-Nazism. His first book, The Girl with the Dragon Tattoo, was published only a few months after his sudden death at age 50. Since I haven’t read the novel on which the film is based, I can spare my readers the inevitable comparison in which the novel is found to be superior to the film. I am in a tiny minority, as The Girl with the Dragon Tattoo is one of the decade’s major literary success stories, selling over 8,000,000 copies worldwide. Once the mystery of Harriet Vanger’s disappearance gets going, the film becomes fast-paced, tense and atmospheric. Jonathon Dabell reviews David Fincher’s remake of The Girl with the Dragon Tattoo starring Daniel Craig and Rooney Mara. The Girl with the Dragon Tattoo (2011) is a direct translation of a 2009 Swedish movie starring Michael Nyqvist and Noomi Rapace, based on a smash hit bestseller by the late Stieg Larsson. In the case of The Girl with the Dragon Tattoo, the good news is that innovative director David Fincher is the man at the helm. Although this version sticks very closely to the Swedish original – so closely, in fact, that it is essentially a re-run in terms of plot and narrative – it is done with enough energy and esprit de corps to emerge a very commendable remake; certainly one of the best in recent memory. Journalist Michael Blomkvist (Daniel Craig) runs Stockholm-based magazine Millennium, which has just been crippled after losing a libel case against a corrupt businessman. Forty years earlier, Henrik’s niece Harriet vanished under mysterious circumstances and has long been assumed dead. To aid him in his quest, Blomkvist enlists Lisbeth Salander (Rooney Mara), a bisexual, computer hacking cyber punk who happens to be a surveillance whiz with a photographic memory, not to mention having more demons in her closet than any film character since Clarice Starling. Whichever version of The Girl with the Dragon Tattoo you watch first is likely to be your favourite, simply because the story relies on surprise revelations and a handful of powerful shock scenes for its effect. In this adaptation, Craig is extremely good as Blomkvist, giving perhaps his most admirable performance to date. The Girl with the Dragon Tattoo is slightly overlong and the journey to the denouement is ultimately more gripping than the solution itself, but overall it is a very well made and a compulsively watchable thriller. Noomi Rapace WAS the character in the Swedish version, much more than Rooney Mara in the US version.
People think that criticizing everything is the best (easiest) way to make them seem discerning, and therefore intelligent.
The first one by Fincher was 90% the same with the Swedish original and therefore extremely predictable.


In terms of cinema, the script, cinematography, editing, score, make up, set design and direction were better in Fincher’s version too!
I like Noomi a lot, she’s the best thing of the Swedish film but for me the more of Salander the better, Make more movies, in every language of the world, TV series, animated version, everything. No one is trying to replace your dear Noomi, she’ll always be Lisbet, So will Rooney. He is hired by Henrik Vanger (Christopher Plummer) to find out what happened to Harriet, with all known clues leading up to murder. Her character alone gives the film an interesting aspect to it, being completely different than Blomkvist and pretty much everyone else in the film. From this point on, the film is given the fuel to keep interest for an epic that is a total 2 hours and 38 minutes long. Although, it would be a very different experience without Fincher’s signature as director. They are hired to solve the 40-year-old disappearance of Harriet Vanger, a member of the rich secretive industrialist Vanger family. Apparently because of prior inpatient psychiatric treatment, she is required to have a guardian until she is twenty-five. Although he deserves the harshest punishment, her retribution is shocking and gruesome – and in full view of the audience. Mikael Blomkvist’s persona is less developed, although Michael Nyqvist plays his role with sensitivity. A lover of American and English mysteries, Larsson planned to write 10 mystery novels based on detailed synopsizes he had written. In fact, I started the book, but found the sentence structure and translation a bit off-putting, and the pace, slow moving. Blomkvist and Salander ultimately discover the link between a series of grotesque murders and Harriet’s disappearance and, ultimately, solve the mystery. But for those scenes, I would recommend The Girl with the Dragon Tattoo without reservation. It’s quite sad in some ways that so many English-speaking viewers have a near-xenophobic attitude towards subtitled movies, necessitating Hollywood’s fascination with remaking anything and everything that has been a hit on the continent. Facing the loss of his business and all his life-savings, Blomkvist gets an unexpected chance at redemption when he is summoned by aging tycoon Henrik Vanger (Christopher Plummer) to the remote northern island of Hedeby to help solve an old family mystery. However, every year Henrik receives for his birthday, a framed flower like the ones Harriet used to make for him, sent anonymously from an undisclosed location. If he can uncover any new evidence, Vanger promises to supply him with enough dirt on his enemies to revoke the libel claims and redeem his magazine’s reputation.
Comrades between the sheets, as well as in their quest for the truth, Blomkvist and Salander soon discover their very lives are in danger as they close in on an extremely perverted serial killer. Both generate a compelling and utterly absorbing mystery, benefiting hugely from authentic Swedish location work and the cunningly twisty narrative. The real scene stealer though is Mara, suggesting quiet torment and rage as the weird but resourceful heroine.
Remaking a movie two years after the original may seem pretty pointless, but if it must be done then at least Fincher does it with his usual provocative panache. I loved the book Girl who Played with Fire and I am now about to read the Girl who kicked the Hornet’s Nest.


The Sweedish movies were fantastic but David Finchers vision, style and attention to detail is honest to the written works.
But have to say that both the Swedish and US version are pretty bland in comparison with the wonderful book. They forget the part where if the critique isn’t intelligent it just makes them seen boorish. Really no need for English language sequels when the Swedish editions are so beautifully executed. Blomkvist takes on a hacker accomplice, Lisbeth Salander (Rooney Mara) to help figure out what happened all those years ago and why.
Her fellow hacker, Plague (Tony Way), also embodies the dark persona of the underground society that exists in the story. The musical opus that is the entire score runs close to 3 hours, reflecting the hard work and perfectionism that was put into it.
Fincher’s version is even better than the fantastic Swedish original, keeping true to the source material with small omissions and changes that were for the overall good of the film. This plot device of a limited group of suspects on an island or in a train compartment has been used successfully by Agatha Christie, among others, and it works here as well.
With only one year to go, her newly appointed guardian is cruelly and sexually abusive to Lisbeth.
Yes, Mikael Blomkvist is based on author Stieg Larsson, but his motivation and background remain unclear in the movie. I’m sure that it will be worse than the current version, which makes superb use of the Scandinavian dark and cold and benefits from the look and feel of a Swedish film.
All too often, these Hollywood revamps fail to live up to their foreign source material, leaving one to ponder whether the whole remake game is really worthwhile at all. Other than a wobbly debut with the underwhelming Alien 3, he has never made a bad film; quite the contrary, in fact.
He has long suspected that Harriet was murdered by a family member on that fateful day forty years ago and believes the murderer is sending the flowers in an effort to drive him to despair.
It’s a difficult role, calling for some very frank scenes to say the least, including one of the most graphic rapes ever seen in a mainstream movie. Judging by its success at the box office, it surely won’t be long before Craig, Mara and co.
I hope Fincher and Mara will do the spy thriller Red Sparrow as the Swedish films really can’t be improved on.
When first introduced, Plague is wearing a Nine Inch Nails shirt, being an homage to Trent Reznor and Atticus Ross who scored the film. Most David Fincher movies generate considerable interest and pre-release hype, deservedly so given his track record for making trailblazing films like Se7en and Fight Club. I can’t envision the two being pared down to one movie without sacrificing numerous significant plot lines, COULD it be done ,,,,Yes, Would what was left make a watchable movie?



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