There is a very specific sequence of movies I recommend to everyone who tells me they want to see Girl With the Dragon Tattoo. Girl with the Dragon Tattoo (American version) > Let the Right One In (Swedish movie) > Girl with the Dragon Tattoo (Swedish version).
This progression, experienced easily in a mere few days, or just one day if your butt doesn’t go numb too badly when sitting still for eight hours, is the closest I have come to movie-watching nirvana.
The idea behind this sequence of movies is to see how Americans and Swedes go about storytelling differently.
This entry was posted in Articles and tagged american films, contemporary films, foreign films, swedish on September 5, 2012 by Contributor. Since the movie sequence is sort of my invention I am especially proud of it, and I’m more than eager to push it on anyone who even hints at having a passing interest in Girl With the Dragon Tattoo.


It serves two purposes in the sequence besides being an incredible film that restores one’s faith in vampire narratives. It remained the title for the Swedish version of the movie, but was inexplicably changed for American audiences to the well-known Girl with the Dragon Tattoo.
As my novel remains indefinitely unfinished, and all my efforts at biological reproduction have foundered, this is the closest thing I have to a child. Even though the violence is handled more obliquely, there is a greater contrast between mood and events depicted.
I got way squirmy watching it, which was totally a success for the film given the sort of shit the filmmakers dramatized. What I got out of it was that the general invisibility of violence is what makes violence so damn heinous.


Perhaps Americans aren’t into the whole frankness aspect of Swedish film, or human experience generally.
Part of approaching nirvana is realizing the importance of septum piercings for a happy life, perhaps.



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