Originally hired by Vanger to research Blomkvist’s qualifications is the computer-hacking goth child, Lisbeth Salandar (Noomi Rapace). Oplev’s film goes by quickly, checking off every interesecting element of the mystery formula and avoids anything regarding character development.
It’s a sham of a scene, bookended by flasbhack cuts to Lisbeth’s disturbing childhood meant to make it easier for the audience to like Lisbeth. The filmmakers don’t even believe the dialogue they wrote for the one-dimensional Blomkvist. Later on, there’s a “return to a long-lost mother” scene that exists only for emotional trumpet playing. The problem with Lisbeth, as portrayed, is that she’s not a brave character, and neither are the filmmakers for inhibiting her. As a representative example, Lisbeth would be a much stronger character if she were the one to attack the men in the metro instead of being attacked by them first and returning the act of violence.
The book’s original title in Sweden is “Men Who Hate Women.” The film, like the portrayal of Lisbeth, is carelessly enclosed by that title.
This includes, but is not limited to, Nazis, Levitical-based murders, multiple graphic rapes, the exchange of information and brand laptops, hunters “mistaking” men for beasts and the occasional visit to a torture room.
She, however, seems more inclined to find out if Blomkvist was guilty or not, hacking into his computer until she becomes engaged in solving the mystery, too. To Oplev, a compelling character constitutes giving them one (count ‘em, one) behavioral trademark that marks them unique from the others. In this film, they become signifiers of a character’s psychological trait: Lisbeth is the woman scorned and scorning, Mikael’s perseverant jogging habits translate to his dogged investigative skills, framed pictures of dead flowers symbolize an elderly man’s dying hope, Martin’s “simple, human gesture” of offering a drink, et cetera. Lisbeth Salandar is not a particularly memorable character though Noomi Rapace certainly plays her well, that is, without over-dramatizing her.
It justifies Lisbeth’s morally dubious acts by calling them acts of vengeance – because someone did them to her first. It hands the audience the correct method for responding to Lisbeth’s character instead of letting us do that as she organically grows from and shapes the story. If a character only acts when acted upon, they are no longer a believable character but another component of a mechanical plot. They fail to realize that watching human beings err and having to make choices is what often makes the best stories.
It’s not that the film’s content openly encourages a hatred of women in the same way that the male characters within it practice.
Wallpaper images in the The Girl With The Dragon Tattoo (2011) Movie club tagged: girl the dragon tattoo wallpapers lisbeth salander mikael blomkvist.
Wallpaper images in the The Girl With The Dragon Tattoo (2011) Movie club tagged: girl with the dragon tattoo movie poster. Following this idea, the film ends on a fairly cliche note, creating a situation where Lisbeth “deserves” her reward, and accepts it on behalf of all mistreated women.
It just doesn’t give the audience any reason to appreciate them beyond objects of desire or hate. Wallpaper images in the The Girl With The Dragon Tattoo (2011) Movie club tagged: girl dragon tattoo with daniel craig rooney mara lisbeth salander mikael blomkvist poster.
Half sleeve tattoos family|
Goodreads quotes about true love
Ideas for a family tattoo orari