Rarely has a character gotten under my skin as much as unwanted heroine Lisbeth Salander. Having read the books and seen the 2009 Swedish version twice, I could barely wait to see the American film and found it spectacularly lived up to every expectation and then some. This movie stuck with me, the ending scene almost haunting. The pain this character goes through both physically and emotionally is heartbreaking. Director David Fincher, the cast, the entire team created a chillier, sexier and more true to the international bestseller book by Stieg Larsson. I highly recommend this film for those familiar with the novels and first time “Dragoners.”
First, I have to pay tribute to the wonderful soundtrack by Trent Reznor and Atticus Ross which almost acts as a sinister character itself and sets a mood both erratic and tense. Against the shades of gray scapes on Fincher’s Swedish backdrop, it is again, dark and haunting. After all, what this movie explores is what character Henrik Vanger (Christopher Plummer) calls “the most detestable collection of people that you will ever meet.” The American version is much more successful in portraying that than the Swedish movie does.
Craig (l), Nyqvist (r)
Now the cast–in the Swedish film it was all about the iconic Noomi Rapace as Lisbeth, but in this version from leads to secondary characters, the entire cast is sublime. Daniel Craig is perfectly cast as the caddish stickler of an investigative journalist who gets played in this house of cards. He takes on solving the mystery of the death of favorite grandniece to wealthy industrialist Henrik Vanger as a way to escape the bad publicity from a story whose sources have gone awry and led to a conviction of libel, and the promise by Vanger should he take the job with information that can clear up his name. As a result, Craig’s Mikael Blomkvist relocates to a guest house on the remote island of Hedeby inhabited by patriarch Vanger and his lot of relatives, which include Nazi sympathizers. While there, he learns that Henrick and nephew Martin are the only ones that welcome him, as the rest of the family surmise his real purpose in being there. (Hanger says Blomkvist is there under the guise of writing his biography and not digging up family skeletons.) In comparison, Craig’s Blomkvist gives a more honest and richer performance than Swedish actor Michael Nyqvist, who portrays the characters as distant and flat, especially in one key scene. It is in this scene that Craig’s range of emotions show that he is more than than the parts of James Bond. When he realizes that he has made a fatal mistake, we feel his terror. That Lisbeth can trust this man when she trust no one is believable because his Blomkvist is vulnerable.
In the story, Lisbeth Salander, a savant computer hacker and emotionally damaged ward of the state, is first hired by Vanger through the security firm where she works to do a background check on Blomkvist. When Blomkvist learns of the exceptional job she did, including hacking into all of his personal information, her hires her to help with solving the mystery and brings her to the island. Up against the big shoes of Noomi Rapace, Rooney Mara is the surprise here. She takes on the case due to a shared history, they are looking for a man who rapes and murders women. This character demands an actress who is petit and androgynous, yet capable of animalistic rage, calculated brutality and a sexuality that draws Blomkvist in. With Mara’s Lisbeth, we see more of the strange beauty described in the book, but we also see the undertone of the rage as her Lisbeth lets it be known that she is indeed insane. Where with Rapace’s Lisbeth, she is who she is for survival and every action is a result of her being hurt time and time again by men (a layer in Mara’s as well.)
Mara (l), Rapace (r)
What we love about Lisbeth, both Lisbeths and in the original novel, is that there is never a trace of self pity. A total acceptance and total control because of that acceptance. Lisbeth is all action in a man’s world. When she ask, “May I kill him?” we cheer her on. In the American version, alas, she doesn’t get that cold choice in the end. Sadly what was left out of the Swedish version was the ending that gives true vulnerability to Mara’s Lisbeth and breaks our heart.
It must be pointed out that Swedish actor Stellan Skarsgård (father to Alexander Skarsgård of True Blood fame) is exceptional as Martin Vanger who now runs the Vanger company and fortune. His performance here and other prominent roles in successful films makes you wonder why he wasn’t cast as Blomkvist in the original Swedish film. There loss is our gain as he would have been a better fit than Nyqvist. Robin Wright as Erika Berger, love interest to Blomkvist and publisher of the magazine where he works, was a welcomed addition to the American cast as that romantic story line was cut from the Swedish film. She gives a strong performance in a small role, but key to Lisbeth’s emotional journey.
Fincher creates a driving suspense to this movie and somehow fits more story in even though running times are close in both versions: Swedish 152 min./American 158 min. He pulls back on the blood and gore of the book and Swedish version, a bit tame and unexpected from this Seven director, but a faithful and a promising first if audiences will only stand by a slow opening holiday weekend (understandably not typical holiday fare) so we can see what he does with the jucier “The Girl Who Played With Fire.”
My only critique is one change of the plot from the novel that perhaps cuts out an expensive location, but weakens this American version as a result. It becomes all too easy of an ending that just doesn’t make sense that this whole story remained a mystery for 40 years. The novel and the Swedish version kept is that way, a stronger way. But in the grand scheme of things, this change does not diminish all that the movie is… exceptional. Visually compelling, sublimely performed and definitely kept this movie goer on the edge of her seat even while knowing all too well what happens next. Run, don’t walk!
To watch the trailer:
