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Author: admin | Category: Neck Tattoo Designs | 21.03.2015

It’s no easy job for a subtitled film to please both critics and audiences but Niels Arden Oplev’s adaptation of Stieg Larsson’s The Girl with the Dragon Tattoo did just that when released in the UK and USA back in 2010. It’s the inclusion of the enigmatic Lisbeth Salander (Noomi Rapace), an intelligent goth computer hacker with severe social issues, as Blomkvist’s assistant that really lifts the story into the echelons.
Dragon Tattoo also benefits from its director’s willingness to follow Larsson in the more unpleasant elements of the narrative.
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. Download the best wallpapers, photos and pictures for your desktop for free only here a couple of clicks! The mystery surrounding the disappearance of Henrik Vanger’s niece, Harriet, is one of the more suspenseful, entertaining parts of director Niels Arden Oplev’s Swedish film, Girl with the Dragon Tattoo. But as the movie plays out, Harriet’s disappearance ranks as least interesting on the filmmakers’ list of gutsiest sub-plots and elements.
Investigative reporter, Mikael Blomkvist (Micahel Nyqvist), has six months before serving a prison sentence for which he was framed.
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. One of the most talked-about foreign exports for some time, Dragon Tattoo was the ideal antithesis to Hollywood gloss as the grimy underbelly of Sweden unleashed a pounding thriller bursting with fallible heroes, corrupt corporations and violence of a deeply unsavoury nature.
Recently convicted of libel and awaiting a prison sentence, disgraced journalist Mikael Blomkvist (Michael Nyqvist) is hired by aging business mogul Henrik Vanger (Sven-Bertil Taube) to uncover the killer of his niece, a mystery which has already stretched out forty years and that points solely towards a member of his own family. At once an abused victim and a supreme revenge-artist, Salander is a powerful 21st century heroine brought to scintillating life by Rapace in a career-defining performance.
Beneath the blindingly white snow and ice that coats the isolate Vanger estate lies a world tainted by darkness.


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. 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.
Unwavering in its intensity, her portrayal is built upon small gestures, from the arch of a pierced eyebrow to the tensing of shoulders, all of which betray just how haunted and damaged she really is.
From the shadowy subway tunnels to the grimy interiors of the city buildings, Stockholm is a far cry from the crisp Scandinavian landscape but both, majestically captured by cinematographer Eric Kress, are equally terrifying, harbouring monsters that threaten to break out at any moment. Some of the breakthroughs that Blomkvist and Salander have are handled a tad clumsily, risking the undermining of both actors’ subtle performances with contrived dialogue.
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. 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.


Her chemistry with Nyquist, reticent in his own endearing way, is what the film hinges upon, forging one of the finest, most unique partnerships in crime cinema.
The original title for the novel was ‘Men Who Hate Women’; it doesn’t take a genius to realise that the real villain of the piece is misogyny.
Yet, the film remains a compelling examination of sexual and social politics, as fraught as its hero and full of the fire of its inked and pierced heroine. 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. There’s a thin line between moralisation and exploitation but Oplev just about keeps it under control. A tense noir for the digital age, The Girl with the Dragon Tattoo is more than worthy of the hype. 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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