Review: Girl with the Dragon Tattoo
12.26.11
I haven’t read the Stieg Larsson books or seen the Swedish-language film adaptations, so you’ll get no comparisons here (GOD, I’M SO IGNORANT!), but as rendered by David Fincher, The Girl with the Dragon Tattoo is basically an above-average murder mystery with a sloppy ending, mostly unnoteworthy — but for one thing: Lisbeth Salander, who, as a character, is damn near groundbreaking, and no, dummy, it’s not because she dresses like suicide girl Barbie. With Salander, Fincher/Larsson do right by “strong female heroin” in a way that movies have been f*cking up for probably 100 years. Then they totally screw it up again, but we’ll get to that later.
Daniel Craig plays Mikael Blomkvist, a recently-disgraced journalist (loser of a high-profile libel suit by a wealthy industrialist) who gets hired by another wealthy industrialist, this one retired, played by Christopher Plummer, to investigate a decades-old murder. Plummer comes from a family of kooky ex-Nazis (Stieg Larsson was himself a journalist who investigated right-wing extremists), almost all of whom still live on a sleepy island in the north of Sweden (with shades of Wicker Man, Insomnia). Plummer wants Craig to find out how his niece disappeared into thin air one day at a family reunion back in the 60s. In exchange, Plummer promises to provide Craig some dirt on the industrialist who disgraced him. Rooney Mara’s Lisbeth Salander, a bisexual, antisocial ward of the state with a photographic memory, works with a firm of investigators. She comes into the picture first as the operative who does the background check on Craig for Plummer, but soon she and Craig find themselves working together on the murder. OOH, DOES ANYONE ELSE SMELL AN UNLIKELY PARTNERSHIP? I’ll be your Danny Glover. Just let me get my merkin.





