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Film: The Girl Who Kicked The Hornets’ Nest
Year of production: 2009
Release date: 11th April 2011
Studio: Momentum
Certificate: 15
Running time: 147 mins
Director: Daniel Alfredson
Starring: Noomi Rapace, Michael Nyqvist, Lena Endre, Sofia Ledarp, Annika Hallin
Genre: Crime/Drama/Thriller
Format: DVD & Blu-ray
Country: Sweden/Denmark/Germany
Language: Swedish
The politically-outspoken Stieg Larsson left this world in a blaze of controversy, but his legacy remains a lasting one. His Millennium Trilogy has gained a massive fanbase, some awards attention, and has even been successful enough to get David Fincher on board for an American remake of the franchise, as Hollywood inevitably cashes in on the popularity of the books themselves. Many have been captivated by the exploits of his heroine Lisbeth Salander; her troubled past and volatile present, and it looks as if we’ll have to endure more of the girl for a few years yet. If rumours are to be believed, there’ll also be a fourth book (there were originally intended to be ten), penned by Larsson’s long-term partner, Eva Gabrielsson, and directly following on from the relatively open-ended The Girl Who Kicked The Hornets’ Nest. For now, however, this film represents the culmination of Salander’s tumultuous relationship with men.
Even those who are indifferent towards the first two instalments will find Hornets’ Nest required viewing – given that it sews up a lot of the girl’s incurred wounds. The Girl Who Played With Fire left Lisbeth bloodied and bruised after being shot in the head by her father, who she then attempted to kill with an axe.
While both lie in hospital, a Soviet spy ring worry that the secrets of Lisbeth’s past will be revealed to the world by Mikael Blomkvist’s magazine Millennium and endeavour to put a stop to the people that stand in their way.
Lisbeth herself must cope with an impending ‘attempted murder’ trial and the emergence of Dr. Peter Teleborian, the murky figure who oversaw her stay at a mental institution at the age of 12...
Divulging all of the key plot details would probably need a handbook in itself, but many of the events in the narrative all serve a similar purpose. It’s well documented that this series of books was intended to be titled ‘For Women Who Hate Men’, and that would certainly have been apt. You can count on one hand the number of positive male characters in all three films combined. Not content with having plagued Lisbeth with an abusive father, a sadistic serial killer and a rapist for a Legal Guardian, Hornets’ Nest dredges up the paedophile doctor who kept her strapped to a hospital bed for over a year. The film demonises the doctor as a sinister, evil liar, and does so to once again extricate sympathy for its weary heroine, who you feel has had to put up with far too much by the time the courtroom scenes roll around. From the aged villains involved in the conspiracy during her childhood, to the stilted lawyers who oppose her, the film acts as a final, determined effort to make the white male seem as thoroughly corrupt and sub-human a species as is fully possible. This might be a film intent on flaunting the abilities of its principal female character, but it victimises her through sexuality rather than empowers her through it, and shies away from considering the ambiguities within her thought process. In making her a statement of subculture, Hornets’ Nest strips her of identity, and has more in common with fascism than feminism.
While finely-paced and staunchly faithful to its literary roots, it’s difficult to accept much of what happens in Hornets’ Nest as credible crime writing. None of the issues involving Blomkvist and his magazine are particularly insightful or interesting, and the creative decisions often lean towards cartoonish depictions of villainy. Lisbeth’s brother, for instance, has a disorder which means he cannot feel pain, and proceeds to roam the wilderness Michael Myers-style, killing everyone and everything in sight before returning to enact some form of family vengeance in the film’s clumsy final act. In many ways, Hornets’ Nest is a subdued epilogue to the events that have gone on before it, devoid of real intensity beyond the trial scenes, and overwhelmed by the sprawling impression that the characters are picking up the pieces. If all ten books were to be completed and adapted, this would more likely serve as one of the fillers of the series, tying up exposition and achieving relative equilibrium, before it’s ready to introduce another callous male antagonist.
Too much of the film’s genuine drama either stems from relaying events in its heroine’s past, or creating overtly-shocking displays of sexuality and violence. The Girl Who Kicked The Hornets’ Nest has a propensity towards displaying violence as both a poison and an antidote, dangerously promoting vengeance as a quenching cure for bitterness. The previously-interesting Blomkvist becomes a fairly moot figure, and the dynamic between himself and Lisbeth is more frayed and uncertain here than in The Girl With The Dragon Tattoo and The Girl Who Played With Fire.
Regardless of its hard-hitting techniques, this latest addition to Scandinavian crime-drama falls on the wrong side of ugly, and more unforgivably is the dullest part of what, for now, remains a trilogy. CR
Film: The Girl Who Kicked The Hornets’ Nest
Release date: 11th April 2011
Certificate: 15
Running time: 147 mins
Director: Daniel Alfredson
Starring: Noomi Rapace, Michael Nyqvist, Lena Endre, Sofia Ledarp, Annika Hallin
Genre: Crime/Drama/Thriller
Studio: Momentum
Format: DVD & Blu-ray
Country: Sweden/Denmark/Germany
With David Fincher’s US remake of The Girl With The Dragon Tattoo well underway, the UK gets to see the final part in Stieg Larrson’s Millennium Trilogy. Lisbeth gets some breathing room, so the Millennium group has time to shine in the series’ dramatic conclusion.
Lisbeth Salander is being held under hospital arrest, accused of the attempted murder of her father, Zalachenko - the man who ruined her life and tried to have her killed.
As her court case approaches, a kindly doctor keeps her away from the prying inquiries of the police and the sinister Dr. Teleborian, a villain from her turbulent childhood.
Meanwhile, Mikael Blomkvist continues his efforts to clear Salander’s name by compiling a comprehensive expose in Millennium magazine and enlisting his lawyer sister to defend Lisbeth.
At the same time, Zalachenko’s employers, a secret organisation of ex-government officials and secret police, along with Lisbeth’s half brother, the sadistic Niederman, seek to silence Salander and Blomkvist forever…
Having this particular trilogy screened in the UK over the space of twelve months has been a strange but generous experience. The crossover appeal of The Girl With The Dragon Tattoo and the impact of Noomi Rapace’s striking portrayal of Lisbeth Salander made it an instant cult hit, as well as a critical success. Then the sequel came along and many expected more of the same, instead receiving a tangled mess of subplots and evil henchman. Now comes the third part, a satisfying trilogy finale not bogged down by high expectations or the need to pay fan service - the story of Lisbeth Salander concluding as abruptly as it began. It’s admirable that this threequel manages to resolve the events of the previous two films while introducing many of its own elements. Fortunately, the over abundance of narrative content doesn’t get murky, largely due to some speedy plot resolutions (one major threat is dealt with in an all too convenient but wholly satisfying fashion). Overall, this is a tighter, more engaging experience than its predecessor.
With that much vaunted central performance populating many reviews and analyses, it’s easy to forget that Stieg Larsonn’s Millennium Trilogy is largely an ensemble piece. Blomkvist and his crusading journalist buddies have always been an important part of the tale, and with the trilogy’s generous closing act, they finally take centre stage.
Lisbeth is confined to a hospital bed for a large chunk of the running time and after that, we only see her grunting in a prison cell, or brandishing a bold Mohawk in court. She is still the series’ best element, but the decision to leave her skulking in the background while Blomkvist and his colleagues pick up the pieces of her tumultuous existence is a satisfying one, making The Girl Who Kicked The Hornets’ Nest a marked improvement on the cartoon histrionics of The Girl Who Played With Fire.
Of course, those little niggles that emerged with the second film still remain to some extent. Invincible man mountain Niederman is largely pointless, and just as disposable as he was in the previous outing - fortunately his demise gives Lisbeth some nail gun assisted catharsis. Also, the ‘section’ group, while an engaging antagonist, is still reminiscent of a low rent cadre of Bond villains. Aside from these plot gratuities, The Girl Who Kicked The Hornets; Nest remains grounded and has more than a whiff of that gritty realism that made the first film such a success.
This trilogy is a genre chameleon, with the first instalment presenting a Fincher-esque dark serial killer tale with some socio-political overtones, while the second flirted with some form of action/thriller/espionage hybrid. The Girl Who Kicked The Hornets’ Nest brings back some of the first film’s political intrigue and adds a clandestine conspiracy into the mix, with a sprinkling of courtroom drama.
These films were originally broadcast as TV serials, and, as such, run the risk of becoming muddled, episodic and overly linear. Yet, somehow, screenwriters Frykberg and Rydberg condense Larrson’s convoluted story into easily digestible chunks. Lisbeth languishes in hospital, tapping out a biography on her smuggled phone, Blomkvist and the Millennium group compile the bumper Salander issue amidst death threats and in-fighting, and the secret ‘section’ group conspire to destroy them all (insert evil laugh). It is a testament to the smooth script that all these plates keep spinning, and all those tangled plot strands are tied convincingly at the film’s neat climax.
Not as consistently brilliant as the first film, yet not as confused and silly as the second, The Girl Who Kicked The Hornets’ Nest occupies a happy medium. There are reportedly more stories to tell about the troubled goth hacker Lisbeth Salander, but this satisfying coda suggests that her story should be left well alone. KT
The Girl Who Kicked The Hornets’ Nest gives every fan the chance to complete their collection of the of the BAFTA® winning series and with The Girl With The Dragon Tattoo and The Girl Who Played With Fire both entering the DVD sales charts at number 1, The Girl Who Kicked The Hornets’ Nest is set to continue that success.
The Girl Who Kicked The Hornets’ Nest picks up where The Girl Who Played With Fire left off. Under police guard in hospital, Lisbeth Salander (Rapace) is charged with murder and awaits the trial that has the country gripped. Cut off from all communication with the outside world, she must rely on journalist and former lover Mikael Blomkvist (Michael Nyqvist) to prove her innocence and expose the political cover up that threatens to destroy her freedom. In his way stands a mysterious group who will go to any lengths to keep the shocking truth of their actions a secret.
Expect conspiracies and corruption as the details of Lisbeth’s case are thrashed out in court. Millennium fans won’t be disappointed with the dramatic climax in which answers to questions are finally revealed.
Directed by Daniel Alfredson and adapted for the screen by Ulf Ryberg, The Girl Who Kicked The Hornets’ Nest concludes the most talked about cinematic event of recent years. The first film in the series, The Girl With The Dragon Tattoo won the BAFTA® award for Film Not In The English Language and Noomi Rapace received a nomination for Leading Actress for her role as Lisbeth Salander.
Presented in stunning glossy packaging, both DVD and Blu-ray formats will include the original Swedish and English language audio versions of the film and a host of special features.
With UK book sales now in excess of 5 million copies, interest in the stories and characters continue to grow with commuters, casual readers and avid fans the world over being gripped by the intense and original narrative.
Film: The Girl Who Kicked The Hornets’ Nest
Release date: 11th April 2011
Certificate: 15
Running time: 147 mins
Director: Daniel Alfredson
Starring: Noomi Rapace, Michael Nyqvist, Lena Endre, Sofia Ledarp, Annika Hallin
Genre: Crime/Drama/Thriller
Studio: Momentum
Format: DVD & Blu-ray
Country: Sweden/Denmark/Germany
Special Features:
•
Trailer
•
Interviews with Noomi Rapace and Michael Nyqvist
Film: The Girl Who Played With Fire
Release date: 10th January 2011
Certificate: 15
Running time: 153 mins
Director: Daniel Alfredson
Starring: Michael Nyqvist, Noomi Rapace, Lena Endre, Sofia Ledarp, Micke Spreitz
Genre: Mystery/Thriller
Studio: Momentum
Format: DVD & Blu-ray
Country: Sweden/Denmark/Germany
The Girl Who Played With Fire is the follow-up to the most successful foreign-language DVD release of 2010, The Girl With The Dragon Tattoo. It's also an adaptation of the middle part of the late Stieg Larsson’s best-selling Millennium trilogy crime novels. What newly installed director Daniel Alfredson didn't need then is to be related to Thomas, a talented auteur that brought us the brilliant Let the Right One In (2008). Talk about pressure.
Back at the helm of Millennium magazine, Mikael (Michael Nyqvist) decides the best way to overcome his relationship problems with hacker Lisbeth is to throw himself into a new project and thus expose a billion dollar sex trafficking ring.
But when one of his researchers is murdered, he realises there’s more to this story than first thought, especially when Lisbeth is framed for the crimes. Convinced that she is innocent, her refusal to acknowledge his existence creates obvious problems as he tries to clear her name and uncover the real killers.
Meanwhile, Lisbeth goes on the run, and soon stumbles on secrets linking her secretive past with these new murders. Fearing her life is in jeopardy, she must reunite with a lovelorn Mikael and a past she wants to bury if she is to ever regain her freedom…
The Girl With The Dragon Tattoo was always going to be a hard act to follow, mainly because the epic-length thriller was so well crafted with barely any loose ends left to explore. But when you’ve got a character as good as Lisbeth Salander, its little surprise someone will want to venture into her world again, regardless of an inferior premise with laughable plot turns and pantomime villains. It even dares to follow a similar formula with its mix of mystery, detection and social criticism, leaving out, for the most part, the brilliant odd-ball romance that was arguably the highlight because it was somehow so strangely satisfying.
Michael Nyqvist, impressive in the first film, is truly outstanding in the follow-up, outshining even Noomi Rapace’s Salander. By finally growing some balls, Blomkvist has clearly read jack Bauer’s handbook on dealing with scum, discarding the torture (up to a point) but retaining the hard-as-nails, don’t-give-a-damn attitude that suddenly makes him so dangerous here (just watch him interrogate a suspect with three photographs). It’s as if he’s learnt by mimicking his beloved Salander, and yet she has disappointingly softened up a touch, isn’t too sure of herself, and sadly not as interesting because of it.
Director Alfredson continues where Niels Arden Opley left off, introducing a nice murder/mystery storyline, intersected with strong, sexual images and gritty realism that surprised so many first time round - yet the creepy romance between the two protagonists is soon ditched along with its opening potential in favour of James Bond villains, a lack of question marks, and rubbish, tension-free (other than an all too brief, well-orchestrated shoot-out at the end) 1970s Bond-style action. There are scenes involving two boxers that lack punch, while the stand-off between Salander and two bikers would’ve been more brutal masterminded by Disney - whoever did the choreography should never work in movies again.
The musical score certainly plays like a thriller, though, even if the events unfolding are anything but. Oddly, if you take out the scenes involving the two major villains of the piece, you would actually have a better film. They bring nothing but camp brutality reminiscent to watching a matinee Christmas performance at your local theatre – shouts of “He’s behind you…” by the whippersnappers muffling out your own screams of dissatisfaction. Fans can argue that Ronald Niedermann’s super-hero power, not being able to experience pain, echoes that of Salander’s photographic memory (underused here) but it’s half-hearted at the very best - embarrassing at the very least. They should just chop his head off.
Her father meanwhile, played by Georgi Staykov, may have the scars of a vicious past, along with a half-decent back-story, but it’s ruined by a veneer that’s comically tragic (for all the wrong reasons), almost matching a script able to declare, two thirds of the way through, that nobody thinks Salander is guilty – er, so why the drama? Oh, that’s right; there isn’t any, reiterated by another tame scene in which Salander digs herself out of a tight spot. The beautifully tender love scene in the opening half hour is, sadly, long since forgotten, and somebody may as well serve a dry martini because this trilogy certainly needs shaking up, not a third part.
The only mystery with The Girl Who Played With Fire is how it manages to ruin all the good that came before it. Whereas the far-superior first outing left us gasping for more, here, a lack of mystery, pantomime villains and tension-free set-pieces will make the viewer whet a kitchen knife rather than an appetite for a final part. DW
Film: The Girl Who Played With Fire
Release date: 10th January 2011
Certificate: 15
Running time: 153 mins
Director: Daniel Alfredson
Starring: Michael Nyqvist, Noomi Rapace, Lena Endre, Sofia Ledarp, Micke Spreitz
Genre: Mystery/Thriller
Studio: Momentum
Format: DVD & Blu-ray
Country: Sweden/Denmark/Germany
Lisbeth Salander returns in the second part of Stieg Larsson’s ‘Millennium Trilogy’, continuing the story that began with the hugely successful The Girl With The Dragon Tattoo. Will the next part of Lisbeth and Blomkvist’s tale prove to be as dark and gripping as the last? Or will there be diminishing returns?
Lisbeth Salander has been in hiding for over a year, and her reporter friend Blomkvist’s frequent attempts to contact her are unsuccessful. Lisbeth’s eventual decision to reenter her old life coincides with a mysterious muscle-bound man approaching her guardian, the sadistic rapist Bjurmann, for Lisbeth’s police reports.
Meanwhile, at Millennium, Blomkvist’s left wing publication, new journalist Dag Svensonn delves in to Sweden’s burgeoning sex trade and is murdered for his troubles.
Thanks to a murder weapon containing her fingerprints, Lisbeth is framed for the murder of Svensonn and his girlfriend, as well as her guardian Bjurmann. To clear her name and find out the identities of the people who framed her, Lisbeth must rekindle her partnership with Blomkvist, and become embroiled in the dangerous world of underground sex trafficking…
The Girl With The Dragon Tattoo has been 2010’s most successful import. A dark and dirty adaptation of Stieg Larrson’s novel, oozing with style and alternative in all the right places. Most of the critical praise has been heaped on Noomi Rapace’s revelatory performance as the titular anti-heroine. Barely recognisable under hood, greasy fringe and face metal, Rapace is consumed by the role of Lisbeth, and the result is mesmerising. The Girl Who Played With Fire is the second part in Larrson’s trilogy that, while not as engaging as it’s darker predecessor, still manages to impress thanks to an increased focus on Lisbeth.
The most striking aspect of this second instalment is the shift in tone. If the first film displayed all the tenets of a murky mystery, then it’s follow up leans more towards the action thriller genre. Sure, original bad guy Martin Vanger was perhaps an overblown serial killer stereotype, but a 7ft tall blonde assassin that feels no pain and a disfigured master villain belong in a James Bond yarn, not a noir genre piece. There is a point to these overblown characters, and the explanation of events seen in the first film links the story nicely, making the standalone trilogy opener seem more episodic.
The fractured story structure also takes some getting used to after the tight plotting of the original; however, there are so many plot strands fighting for attention it’s hard to care about any of them. Millenium's investigation into the sex trafficking business is at first intriguing, bringing a new face into the publication in the form of Dag Svensonn, whose character seems set up to be a Blomkvist protege until his abrupt demise. Later, though, the sex trafficking investigation switches from primary story catalyst to disposable subplot, as the focus is fixed squarely on Lisbeth. It is true that interest wanes whenever she is off-screen, but it seems too frivolous to dangle worthy plot diversions in front of us, only to snatch them away when it's time for Ms. Salander to shine.
The chemistry between Blomkvist and Lisbeth was a major pull of The Girl With The Dragon Tattoo, and the sequel suffers by keeping them apart. Lisbeth’s isolation fits with the story, yet one can’t help but yearn for another tentative romantic exchange between the disparate pair. Nyqvist’s performance is perfectly fine, his world weary sleuth is as enjoyable to watch as ever, but in The Girl Who Played With Fire Blomkvist is merely a cipher, a font of exposition to break up the narrative flow of what is essentially the Lisbeth Salander story.
Messy and disjointed it may be, yet in the middle of the confused story and the offbeat characters (seriously, a 7 ft. henchman that feels no pain), is Rapace’s performance. A woman of actions, not words, who has the ability to enthral by merely tapping away at her laptop, Lisbeth Salander is a formidable screen presence, it will be interesting to see how Rooney Mara can emulate this magnificent performance for the forthcoming American remake of The Girl With Dragon Tattoo.
It lacks the style and fresh appeal of its predecessor, and the story is populated with too many cartoon villains for it to be taken seriously, but The Girl Who Played With Fire is held together at the seams by the Noomi Rapace’s flawless performance. KT
Back at the helm of Millennium magazine, Mikael is intent on exposing a billion dollar sex trafficking ring, but when two of his researchers are murdered, he realises there's more to this story than first thought after Lisbeth is framed for the crimes. Unconvinced that she is involved, he attempts to clear her name and uncover the real killers. But secretive hacker Lisbeth goes on the run and soon stumbles upon secrets of her own past. Secrets that people would kill to keep hidden.
Directed by Daniel Alfredson and adapted for the screen by Jonas Frykberg, The Girl Who Played With Fire has a huge fan base eager for the second instalment following the most successful foreign-language DVD release of 2010 in The Girl With The Dragon Tattoo.
Film: The Girl Who Played With Fire
Release date: 10th January 2011
Certificate: 15
Running time: 153 mins
Director: Daniel Alfredson
Starring: Michael Nyqvist, Noomi Rapace, Lena Endre, Sofia Ledarp, Micke Spreitz
Genre: Mystery/Thriller
Studio: Momentum
Format: DVD & Blu-ray
Country: Sweden/Denmark/Germany
Special Features:
•
Cast and crew interviews
•
Niedermann Vs. Roberto: Behind The Fight Scene
•
Sneak peak of The Girl Who Kicked The Hornets’ Nest
•
Trailers
•
English language audio option
The Girl Who Kicked The Hornets’ Nest is the explosive final instalment of Stieg Larsson’s Millennium trilogy.
Under police guard in hospital, Lisbeth Salander (Noomi Rapace) is charged with murder and awaits the trial that has the country gripped. Cut off from all communication with the outside world, she must rely on journalist and former lover Mikael Blomkvist (Michael Nyqvist) to prove her innocence - and expose the political cover up that threatens to destroy her freedom. In his way stands a mysterious group who will go to any lengths to keep the shocking truth of their actions a secret.
Film: The Girl Who Kicked The Hornets’ Nest
Release date: 26th November 2010
Certificate: 15
Running time: 148 mins
Director: Daniel Alfredson
Starring: Michael Nyqvist, Noomi Rapace, Erika Berger, Annika Gannini, Malin Erikson
Genre: Crime/Drama/Thriller
Studio: Momentum
Format: Cinema
Country: Sweden/Denmark/Germany
Film: The Girl With The Dragon Tattoo
Release date: 19th July 2010
Certificate: 18
Running time: 147 mins
Director: Niels Arden Oplev
Starring: Noomi Rapace, Michael Nyqvist, Lena Endre, Peter Haber, Sven-Bertil Taube
Genre: Mystery/Thriller/Crime
Studio: Momentum
Format: DVD & Blu-ray
Country: Sweden/Denmark/Germany/Norway
Faithfully adapted from the first in the trilogy of Millennium novels (originally entitled Men Who Hate Women) by the late Swedish author Stieg Larsson, this thought provoking film continues a resurgence of Swedish cinema kick started in 2008 by the excellent atmospheric coming of age vampire love story Let The Right One In.
Henrik Vanger loves his niece Harriet; loves her innocence, her intelligence, her lust for life, and the fact that she loves him for him and - not his money or power. Annually, she presents her favourite uncle with a framed picture containing a different pressed flower, which he in turn proudly displays on his office wall.
Four decades after Harriet disappears from his life during a Vanger family gathering, he is still receiving an anniversary framed pressed flower reminder of his niece from an unknown source.
Disgraced investigative journalist Mikael Blomkvist (Michael Nyqvist), facing a prison sentence for libelling a powerful business magnate, is summoned to the home of the wealthy industrialist, and offered the opportunity investigate the mystery. Vanger accepts that a member of his own dysfunctional family may be responsible for the crime, a clan of privileged Swedish aristocrats that are willing to go to almost any length to protect the skeletons in their sizeable closets.
Blomkvist is a loner forced to accept assistance by his employer in the shape of Milton security investigator Lisbeth Salander (Noomi Rapace), and it is with the introduction of this bi-sexual, androgynous, computer-hacking petit leather wearing Goth that this thriller becomes something special. Not since the Knight (Antonius Block) in Ingrid Bergman’s 1957 classic The Seventh Seal has Swedish cinema produced such an iconic character...
Salander is a compelling mid-twenties girl, with a mysterious past even more compelling than the enigmatic disappearance of Harriet Vagner. She is the opposite in every way to the subdued introverted Blomkvist. Even when we discover his long standing affair with a journalistic colleague, an affair blessed by her husband, he never rises above the level of moralistic everyman. It takes nearly an hour, a welcomed character developing slow burn, for theses two main players to come together and form a strange and productive relationship.
Nazi sympathisers, biblical references, suggested sexual abuse, and evidence pointing towards a possible serial killer, or even killers, emerge at such skilfully spaced intervals that these revelations intensify an already building suspense created by Salander’s ominous back story.
It is her past, and trying to comprehend the reasons behind her aggressive black-and-white view of life that is the movie’s true mystery. She deems Blomkvist as good, and therefore willingly helps in his investigation, while those fool hardy souls that cross swords with the Goth soon suffer at her hands. A particularly graphic revenge rape against her court appointed guardian and sexual predator Bjurman is disturbingly violent, and yet it is conversely satisfying to watch justice being done - albeit through fingers from eye covering hands. She is a tiny whirlwind of repressed rage, a dark edged heroine and worthy adversary to the strongest foe, yet more than this she is a victim, a survivor, and a character with an emotional underbelly that director Niels Arden Oplev cleverly only hints at. Indeed, this is a character that we could watch time and time again, and with two made-for-TV movies having already been screened in Sweden, and rumours of a fourth story in the possession of the late Stieg Larsson’s family, it appears we just might have that opportunity.
The cinematography utilises every inch of the provocative Swedish landscape, while the script never flinches when dealing with the movie’s many controversial issues. One very small fault is a flashback to Salander’s childhood that is never properly explained, perhaps included as a subliminal teaser to the second made for television movie, or even as a guilty little pleasure for loyal readers of the books.
With only a few minor changes to the story, literature fans should be delighted by the adaption, especially as the casting agent has utilised the Swedish acting fraternity to good measure. Noomi Rapace, in particular, is outstanding - seemingly born for the role - and it is not unfair to say that the film stands and falls by her performance.
Hollywood already has plans to remake the trilogy, if they follow the novel and successfully cast Salander then maybe, just maybe they can replicate this truly excellent movie. Wishful thinking perhaps after Hollywood remakes ruined the great Asian thought provoking horror movies of the ‘90s and early-noughties by abandoning atmosphere and storytelling for gore and special effects. Time will tell.
The Girl With The Dragon Tattoo is a skilfully directed, well acted atmospheric suspense fuelled thriller that will stay in the mind long after the final credits have rolled, and worthy of numerous viewings to discover the subtleties of this intriguing multi layered story. MG
