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.
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.
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.
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.
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. 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.
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.


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. 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. 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.
And thus the procedure begins: the examination of old photographs, newspaper clippings, journal entries, and the questioning of family members.
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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