I haven't read Stieg Larsson's worldwide bestseller on which this film, and a 2009 Swedish version, were based. But I have seen the Swedish version, and given the mysterious nature of this film, already knowing the resolution (or at least part of it; I had forgotten one or two of the major reveals at the end) probably dampened my enjoyment of this film some. Also, I may have just set my expectations too high. But when David Fincher, director of "The Social Network"--a film I consider to be very close to a modern masterpiece--tackles a film of this nature, you can't help but have high expectations. The fact that Fincher has also done so well with similarly dark material in films like "Seven," "Fight Club," and "Zodiac" just raised my expectations more. But unfortunately, while this film is flawlessly executed from a technical standpoint, and contains a searingly brilliant lead performance from Rooney Mara, the story simply didn't grab me all that much.
For those unfamiliar with the source material, the film is a murder investigation set in Sweden. Journalist Mikael Blomkvist (Daniel Craig) has just been convicted of libel for trying to expose a crooked businessman and is out of a job and most of his life savings as a result. He agrees to journey to and island in northern Sweden, home of the wealthy and powerful Vanger family, at the bequest of patriarch Henrik Vanger (Christopher Plummer). Blomkvist's task is to investigate the disappearance of Henrik's niece Harriet, which occurred some forty years earlier. Intercut with the early stages of Blomkvist's investigation is the introduction of Lisbeth Salander (Rooney Mara), a 23-year-old antisocial computer hacker who has been investigating Blomkvist on behalf of the Vanger family. When Blomkvist decides that he needs a research assistant to help him in his investigation, Henrik's lawyer (Steven Berkoff) recommends Lisbeth.
As I said above, the story here didn't grab me all that much, probably because I already knew how it would play out. This is also a long film (for today's standards anyway) at nearly two hours and forty minutes, and while it never drags it never really flies by either; rather it simply moves along and by the time you reach the rather protracted ending, you definitely feel like you've watched a 158 minute film. I love long films when there's a lot of action or a great, compelling story (or both) to help move the plot along, and while those who don't know the resolution will likely be more taken in, it felt a tad long to me. That being said, I really don't know that there's much that could be cut; this is simply a long and complex story.
With those negatives out of the way, I do want to focus on the positives as the story of Lisbeth certainly is compelling and involving; it's just the mystery aspect that didn't grab me. But Lisbeth is a fascinating character, appearing as everything from a lost and lonely young woman to a veritable angel of death. Her backstory isn't fully revealed here (there are two more books in Larsson's Millenium Trilogy), but we do realize that she has has been treated horribly throughout her life, and has a deep-seeded distrust of absolutely everyone she meets, men in particular. But she's also clearly brilliantly intelligent and very confident in her abilities. She's really a fascinating character, and Rooney Mara transforms completely into her in an utterly captivating performance. Craig's Blomkvist is the calm and resolute center of the film, while Lisbeth is an absolute firecracker...or perhaps a bomb waiting to explode. You simply never take your eyes off of her when she's on screen; she's that compelling of a character and Mara is that good in the role. The film's best individual moments--and there are quite a few--all involve Lisbeth. For those who are familiar with the material, you know which moments those are, and rest assured, they are all here. All the acting is quite good actually, with Plummer, Stellan Skarsgard, and Yorick van Wageningen standing out in particular.
The film is brilliantly executed from a technical standpoint as well. Fincher's direction is excellent, the wintry cinematography from Jeff Cronenweth is beautuful, and the editing from Kirk Baxter and Angus Wall (Oscar winners for "The Social Network") is crisp, particularly during the frequently intercut first hour. There is also some excellent sound design that makes great use of the various environments in the film, whether the snowy woodlands on the island or a vibrant, pulsating club in Stockholm. In fact, the club scene here is probably as well-executed as the one in "The Social Network," though not nearly as long. Finally, Trent Reznor and Atticus Ross (also Oscar winners for "The Social Network") once again contribute an edgy, electronic-infused score, though it does lack the more memorable musical themes that score had.
Overall, "The Girl With the Dragon Tattoo" is a masterfully executed film with a rather pedestrian story. Lisbeth Salander is a fascinating character and Rooney Mara is utterly brilliant in the role, but the murder mystery simply wasn't all that compelling for me. It's definitely worth seeing, whether you know the story or not, but those who don't--and possibly those who are rabid fans--are the ones who will probably get the most out of this film.
"The Girl With the Dragon Tattoo" is rated R for brutal violent content including rape and torture, strong sexuality, graphic nudity, and language.
Running time: 158 minutes.
Released domestically on December 21, 2011, by Columbia Pictures.
3 stars out of 4.
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