Full disclosure: I’ve never read any of the original Stieg Larsson novels, nor have I seen the Swedish films or the one existing American film (though the soundtrack to David Fincher’s Dragon Tattoo kicks all kinds of ass). Vertigo’s The Girl with the Dragon Tattoo Book 1 is an enjoyable and intelligent, if incomplete, crime yarn that is almost minimalist in its presentation. Vertigo's debut Girl with the Dragon Tattoo graphic novel adaptation is an intelligent, if incomplete, crime yarn. For several years now, Stieg Larsson’s The Girl with the Dragon Tattoo and its two sequels have been among the world’s best-selling works of fiction.
Around last Christmas, however, a friend mentioned the movie version in the context of a conversation about travel in Scandinavia.
All of this, of course, is a necessary alibi, because this movie is so stupid, so politically correct, and so downright evil that I never would have watched it if I had known anything about it, aside from where it was filmed.
Larssen’s books were published after his death, and under Swedish law, his mistress gets nothing. To make matters worse, the father, Gottfried Vanger, seems to be a Christian religious enthusiast (in about the least religious country in Europe). Thus Stieg Larsson is mentally indistinguishable from a Jew in regarding Jewish lives as more valuable than non-Jewish lives, including, presumably, his own. Sweden did have some prominent Nazis, including the great explorer Sven Hedin (who was part Jewish, but that did not prevent him from befriending Hitler, Goebbels, Goring, and other top Nazis). The “good guys” in this movie are the “girl with the dragon tattoo” herself Lisbeth Salander (played by Noomi Noren, who is half Swedish and half Spanish-Gypsy) and Mikael Bomkvist (played by Michael Nyqvist), a left-wing journalist and defender of women clearly modeled on Larssen himself. Larssen had the face to claim that Lisbeth is Pippi Longstocking all grown up, which is a pretty good description of the agenda of every leftist defender of women. Of course the modern publishing industry turns out this kind of repulsive, politically correct swill all the time.
This entry was posted in North American New Right and tagged ethnomasochism, movie reviews, North American New Right, originals, Stieg Larsson, The Girl with the Dragon Tattoo, The Millennium Trilogy, Trevor Lynch, xenophilia. In spite of some of my more sheep-like friends gushing about this film and exhibiting his brick-like tomes on their coffee tables as a semi-permanent fixture, I’ve instinctively avoided everything to do with Stieg Larsson. Ms Watson is an intelligent, classy, wholesome young woman who never succumbed to the smut-trash of Jewish Hollywood or its British equivalent there in the Isles.
I will work on that, but in the meantime I recommend that you begin by reading through my reviews. A bit more on Stieg Larsson: He was the chief editor of Expo, the Swedish version of Searchlight Magazine. Journalist Mikael Blomkvist is aided in his search for a woman who has been missing for forty years by Lisbeth Salander, a young computer hacker. That being said, my review of Vertigo’s Dragon Tattoo adaptations will be unaffected by any preconceived notions of the series and judged solely as a comic book. It presents ideas to the reader with little insight from the characters themselves, save for Lisbeth Salander.
Of course, I have no time or taste for contemporary popular fiction, so it completely escaped me. He wanted his estate to go to the Communist Party, but his will was legally invalid, so all of his royalties go to his father and brother.
Normal people reserve their deepest horror for the deaths of the people who are closest to them. The son, however, is rather pleased that he has grown beyond his father’s racial and religious views. As a young man, Ingmar Bergman, Sweden’s greatest filmmaker, was an enthusiastic admirer of Hitler. Pippi Longstocking was a cute, adventurous little girl with superhuman strength who was the subject of a highly popular series of wholesome Swedish childrens’ books and movies. The reason that Larssen’s books are so popular is that—if the movie is any indication—he is actually a good storyteller.

You can earmark your tip directly to the author or translator, or you can put it in a general fund. After performing his mandatory military service as a member of a mortar crew, he travelled to Eritrea and taught the anti-Ethiopian rebels how to use that weapon.
Unfortunately, I know what you’re talking about since I watched the first movie with my fiancee at her request. That means if you’re a big fan of the Milennium Trilogy in other mediums, you should probably take that into account while reading this review. The book suffers a great deal from being split into two unnecessary chapters, so you might be better off waiting until Book 2 releases (or Vertigo collects them together) if you want a complete experience.
On a whim, I added it to my queue, then forgot about it until it showed up in my mailbox a month later. But today, Nordic men are among the most peaceable and law-abiding in the world, and by all objective measures, Nordic women are some of the best off women in the world, although they are now being subjected to increased levels of rape and sexual exploitation by non-white immigrants.
Surely they could not be worse recipients of a vast fortune than Stieg, his mistress, or the Communist Party. One of these families of Nazi industrialists, the Vangers, is about the worst clan since Sawney Beane. It is more horrible to lose a friend or family member than a stranger, more horrible to lose a countryman than a foreigner. Ingvar Kamprad, the founder of IKEA and one of the world’s richest men, was a follower of Swedish fascist Per Engdahl (who was not a Nazi but a follower of Mussolini). The feminist idea of progress apparently means turning every bright, spunky, adventurous Pippi Longstocking into a hard, cold, emotionally repressed, alienated, criminal, tattooed, lesbian freak with a face full of hardware. The movie is also a very well-made, directed by the Dane Niels Arden Oplev, with a uniformly excellent cast. At least abominations like The Matrix Reloaded, Inglourious Basterds, and Machete can be turned to our advantage with a clever review.
Hollywood could not pass up a steaming pile of anti-Nazi, anti-white, pro-feminist propaganda like this.
The German leadership was aware of it, as well, but since his blood was too diluted to even qualify as a mischling , and he was a staunchly pro-German (since before WW I), it was never a problem. We were both utterly disgusted and were able to point out all the ridiculousness and evil nonsense throughout the movie.
Denise Mina (Hellblazer, A Sickness in the Family) is right at home here, diving head first into the Swedish crime series without any reservations of losing the reader along the way. No, he is not writing about the violence committed by the Muslim and black immigrants that Communists like himself have been inflicting upon Sweden.
Sweden also has younger generations of neo-Nazis, but they are few, marginalized, powerless, and far less prone to violence than non-white immigrants or left-wing anti-fascists.
The character of Martin Vanger is genuinely terrifying in ways never approached by more flamboyant serial killers like Hannibal Lecter.
So Jewish director David Fincher (Fight Club) is working on an English-language version starring Daniel Craig as Mikael Blomkvist.
She supports a clothing line that is relatively anti-globalist and she even visited the workers in, I believe, Bangladesh to see how they were treated and how hard they worked.
There are names tossed our way fast and furious with jarring scene transitions every few pages, but if you’re willing to go along for the ride and put the pieces together yourself, then Dragon Tattoo Book 1 is actually a pretty rewarding experience. To make a long story short, Watson was simply too wholesome and tactful to be cast in this ludicrous film based on Larsson’s garbage that passed for a novel. The onslaught of information and names is enough to make your head spin, particularly when artists Leonardo Manco and Andrea Mutti don’t do much to differentiate the characters in physical appearance. However, Mina does a great job of letting the reader slowly construct the pieces of the book’s many mysteries alongside protagonists Mikael Blomkvist and Lisbeth Salander.
The greater problem comes in the fact that Dragon Tattoo – and the adaptations of the other two books to follow – is split into two volumes.

In fact, it ends before the two heroes of the tale even meet, though the entire narrative seems built to bring the two story threads together. Similarly, the more disparate elements of the plot, like Mikael’s war against Wennerstrom are left dangling in the ether, presumably to be picked up in Book 2. Fortunately, the slow burn of the murder mystery plot combined with the methodical and intriguing characterization of Lisbeth makes for an enjoyable experience overall.
This is a narrative more focused on the plot than it is the players within it, though not necessarily at the total sacrifice of characterization.
Interestingly, the most guarded and mysterious of the entire cast, Lisbeth, is the one that we get to understand most. Everybody else feels like another pawn in the chessboard of the plot, but Lisbeth manages to standout on her own despite her scenes being relatively brief and, in a few cases, excessively brutal. The book doesn’t shy away from the famously grotesque imagery of sexual abuse, but it does fail to give it any context as it pertains to the story as a whole.
I would assume that Lisbeth’s horrible experiences come into play either as motivation to help Mikael catch the woman-killer at large or in some other way, but with the book abruptly ending soon after Lisbeth enacts her vengeance against her assaulter, the scenes in question feel like little more than gratuitous violence.
Without a doubt, this adaptation should’ve been all inclusive rather than split into multiple volumes. Mina’s ability to construct such a complicated narrative in under 150 pages is commendable, though the real test of the adaptation will come in Book 2 where all of these dangling threads will need to become cohesive. Mina’s other great strength in Book 1 comes from her understanding of the medium and knowing when to pull back and let the artists take control.
The book is more or less split between Manco and Mutti, with the former handling a majority of Lisbeth’s scenes and the latter following Mikael. There are exceptions at random throughout the book, but in general the artists are pretty evenly split by character. Manco approaches the world and characters with a fatally realistic style, including meticulously detailed characters and atmospheric backgrounds. Manco has the unfortunate distinction of rendering the aforementioned assault sequences, but the discomfort and impact of the scenes are made all the more potent because of his sharp style. One sequence of Manco’s in particular that stands out comes a little over halfway in the book, where Lisbeth is on the phone having a terrible, terrible conversation.
Manco uses a series of four panels to softly punch in on Lisbeth from the same angle as her makeup ever-so-slightly begins to stream down her cheek as she sheds a tear. It’s a heartbreaking moment in a book that’s pretty hesitant to show character moments like this one. Mutti’s style is far more traditional, though still set in reality with appropriate anatomy and effective atmosphere. Since Mikael’s portions of Book 1 are relegated predominately to talking heads, a majority of these scenes hinge on Mutti’s ability to make his characters emote properly. Though Mina’s characterizations of Mikael and the other characters around him are cold, Mutti’s effective character work helps to give them a bit more depth than the script would leave you with. That said, Mutti doesn’t do a great job of differentiating the large cast in physical appearance, which becomes a problem at times – particularly when Mikael’s various love interests look almost identical.
In general though, Mutti and Manco do an effective job of bringing this dank world to life. If you’re looking for insight into the adaptation process or anything of a behind-the-scenes nature, you’ll be sorely disappointed here. There’s zero supplemental content, unless you consider an ad for Book 2 something worthwhile.
The book design, however – including Lee Bermejo’s fantastic cover -- is something to be commended.

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