David Fincher’s The
Girl With the Dragon Tattoo, adapted from Stieg Larsson’s book by
screenwriter Steven Zaillian, is the second such adaptation of the novel, the
first being a Swedish production from two years ago. It represents the growing
trend in Hollywood of taking popular and well-crafted films from overseas and
reshaping them for American audiences. Fincher’s version, which should really
be considered an alternative adaptation of the book more than a remake, is an
expertly made, great looking, moody and atmospheric yet totally conventional
thriller. Which is sort of like having the New York Philharmonic perform a
composition by a middle-schooler with mediocre musical ability. The conductor
is brilliant and his orchestra top-notch, but the music itself insists that we
ask why such talents were wasted in pursuit of something so pedestrian.
Larsson’s Millenium
trilogy (unread by me), of which this is the first, has a loyal following of
readers and if the movie is any indication, you can see why. It’s got all the
hallmarks of a popular thriller, plus it’s extra violent and full of
misogynistic men (the book’s original Swedish title is Men Who Hate Women) for good measure. Fincher and production
designer Donald Graham Burt – collaborators on Fincher’s previous three movies
– as well as cinematographer Jeff Cronenweth keep a bleak and wintry look that
mirrors the subject matter. Even the most brightly lit interior is decorated in
a cold modern minimalist style. The effect is the impression that Sweden is a
place I never want to live in and that it is just as dreary as many people
believe.
The film suffers from a surfeit of characters, many of
whom are present only in description and recounting of past events. The main
protagonist is not the ‘girl’ of the title, but Mikael Blomkvist (Daniel
Craig), a recently disgraced journalist who lost a libel suit (and his life
savings) to Wennerström, a wealthy businessman. He is given an opportunity to
regain his fiscal security and the evidence to bring down his adversary by
manufacturing magnate Henrik Vanger (Christopher Plummer, but would have been
best portrayed by Max von Sydow). Vanger is one of several patriarchs of a
multi-generational Swedish manufacturing empire. He has little time left on
this earth and he wishes to solve the mystery of the disappearance and presumed
murder of his grand-niece Harriet some 40 years earlier when she was only 16.
Visiting Henrik for the first time on the family’s
private island in the north of the country, Mikael gets lost in the description
(as do we) of both living and deceased Vangers, who speaks to whom and who
doesn’t and whatnot, and where they all reside on the island. Henrik is
convinced a family member is responsible for Harriet’s death and after
initially laying out the circumstances of the day in question, Mikael moves
into a small cabin on the property and begins a detailed investigation, one
which many family members, for varying reasons, don’t wish to reopen. Mikael
meets everyone in time as the mystery is splayed out, both in the screenplay
and in photographs and post-its on Mikael’s wall. The most recognizable actors
in the Vanger clan apart from Plummer are Stellan Skarsgaard as Harriet’s
brother Martin and Joely Richardson as their cousin Anita, now living in London
and having no contact with anyone.
The character I haven’t yet mentioned, and she is the
most interesting thing about the film, is Lisbeth Salander, a young savant
computer hacker with a troubled history and the tattooed girl of the title. She
is played by Rooney Mara, that sweet girl who breaks up with Mark Zuckerberg at
the beginning of The Social Network,
with equal parts introverted quiet reserve and devastating menace. Her
background is presented rather dismally. As a ward of the state she has relied
on the kindness of an elderly foster parent whose incapacity from the effects
of a stroke leave her at the will of a new guardian, Bjurman (Yorick van
Wageningen), a sadistic misogynist who is willing to file positive progress
reports in return for sexual favors. This leads to an excruciating rape scene
that is shot almost as unsparingly as the revenge scene she exacts. Remember
Fincher is the director who was unflinching in both Seven and Zodiac when it
came time to lay bare to gruesome details. What Bjurman underestimated was Lisbeth’s
capacity not only for physical violence, but to discover everything about
someone using her skills with a computer.
Her abilities as an investigator supply her with
lucrative work at the security firm that investigated Mikael before Vanger
would hire him. Upon learning this, Mikael decides she would be an excellent
partner to have to aid him in his search. Although she spent most of her teen
years in a psychiatric institution, I suppose we’re meant to take it on faith
that she somehow developed unparalleled hacker abilities. Some suspension of
disbelief may be required, but that’s okay.
The multitude of characters and extended development of Lisbeth
leave less room for character development where it matters. We learn little
about Mikael’s relationships outside the immediate scope of what the plot
demands. His daughter shows up once to illustrate Mikael’s revulsion toward
religion and then later to supply a key detail that will break the
investigation open: Those codes are Bible verses! His other key relationship is
with Erika Berger (Robin Wright), his co-editor at the magazine he’s recently
had to resign from. We learn their affair broke up his marriage and has had a
deleterious effect on hers, but beyond that we know very little except that he’s
willing to come and go when it suits him or the plot.
To call the resolution to the big mystery disappointing
is a huge understatement. It not only predictably leads to the discovery of a
serial killer (of women, no less), but relies heavily on Roger Ebert’s Law of
Economy of Characters, and turns out to be utterly conventional. Really? That’s
what happened? That’s the guilty person? That’s the killer’s motivation? MINOR SPOILER WARNING: Isn’t childhood sexual
abuse getting a little bit worn out as a plot mover?
If the film had simply finished after Mikael wraps up the
Vanger family drama and truncated the book’s final coda, it might have had a
better effect on me. Instead it launches into an unnecessary and somewhat
implausibly simplified taking down of Wennerström that involves complicated
international travel, hacked bank accounts and large monetary transactions.
This all adds 20 minutes to a film that could have been a tight two hours plus and
a much better film overall. It’s still difficult to come down hard on the film,
though, because Steven Zaillian, who is one of the best studio writers working
in Hollywood today, has provided a sharply written screenplay, Rooney Mara is
simply mind boggling and Fincher and his technical crew have once again crafted
a beautiful looking piece of cinema. And after their Oscar-winning score for The Social Network, Trent Reznor and
Atticus Ross return as composers here, lacing the film with a wonderful
electronic score that underscores the tension of the dramatic arc. Their work
on these last two Fincher films demonstrates clearly that movie scores don’t
have to be all horns and strings. If only their bold originality could have been
paired with a better story.
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