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Be warned, this film contains crime scenes, grisly crime photos, crazy homicidal dudes in their dungeons, and a very harrowing rape sequence which is all too graphic.
Daniel Craig is highly competent in the role and the excellent supporting cast makes fine work of the host of swedish creeps (and occasional decent human being).
David Fincher's big-screen adaptation of the Stieg Larsson thriller novel is due in theaters on Dec. 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. Mikael Blomkvist ar en skandaldrabbad journalist som atar sig uppdraget att i hemlighet utreda ett fyrtio ar gammalt ouppklarat mord pa uppdrag av offrets farbror, industrimagnaten Henrik Vanger.
Jag tar och kopierar min innehallstext gallande denna films svenska forlaga eftersom innehallet i Man som hatar kvinnor och The Girl with the Dragon Tattoo ar mer eller mindre identiska. Director David Fincher lends his natural taste and talent for the creepy to the material with great success. 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.


Under sin undersokning kommer han i kontakt med hackern Lisbeth Salander och det omaka paret inleder ett samarbete for att losa mysteriet.
For those of you that don’t know, we have an old Swedish billionaire who hires a brilliant investigative journalist to investigate the forty year-old unsolved murder of his niece. Of course this character is probably to a good degree responsible for the success of the franchise, but Mara does her justice.
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. Tillsammans uppdagar de en mork och fasansfull historia om mord och sexuella overgrepp som sedan lange ruvat under ytan i svenskt naringslivs historia. Her Lisbeth is detached, yet sexy and vulnerable, but also kick ass physically and intellectually.
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. Plus this style doesn’t trivialize the material at all, but only serves to heighten the emotional impact.


She’s a very complex character and both her striking visual presence and subtle performance are riveting. And thus the procedure begins: the examination of old photographs, newspaper clippings, journal entries, and the questioning of family members.
The first half is driven by the journalist’s investigation and by dark character study of Lisbeth (the girl).
The story is somewhat streamlined from the earlier film and the book, but also without significant sacrifice.
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.
Here’s a man who clearly is used to being a man, and then she reverses the whole deal on him. 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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