About a year ago, the teaser trailer for “The Girl With The Dragon Tattoo” left audience members in a state of trance. Its crosscutting, jabbing images juxtaposed with a cover of Led Zeppelin’s “Immigrant Song” summed up the film in less than two minutes.
Stieg Larsson’s novel of the same title comes to life in David Fincher’s slick, Americanized re-imagination of the Swedish book and film adaptation.
Set in the cold, bitter and murky winters of Sweden, the story revolves around a strong female protagonist and sets an unconventional tone from the start — a dark and gothic experience that audience members are not so familiar with.
Lisbeth Salander (Rooney Mara), the computer hacker heroine, and Mikael Blomkvist (Daniel Craig), the rugged and infamous journalist who is on trial for libel, embark on a journey to solve the mystery of Harriet Vanger, a young woman who was allegedly murdered about forty years prior.
The story readily takes heed when Blomkvist agrees to take the task of solving the mystery and moves into the sketchiest, yet quaint town somewhere in Sweden. Lisbeth, however, does not become involved with Blomkvist until near the first hour mark of the film.
But it is clear that Lisbeth’s presence truly drives us to continue to watch. We are aware that she had a difficult life and obviously carries some scars, but we are left hanging as we continue to watch her actions and outcomes. As the film progresses, we are given snippets of her past but not enough to predict what she will do next.
Fincher manages to showcase his talent for storytelling and direction through his visual style, similar to “The Social Network.” While the film runs at more than two hours, the execution manages to squeeze in excruciating detail, showing us more about Lisbeth and her true personality without too much convolution to the flow.
In some ways, “Dragon Tattoo” is a love story. Surely, the two leads make an odd pair. But as both continue to work together throughout the mystery, it seems that there may be deeper connections than we might think. Near the climax of the film, it is apparent to us that the newly formed unconventional relationship could bring another sequel to Larsson’s other series.
What truly drew me into the film was the depiction of an unusual and strong heroine. In most recent action films like “Taken” or the “Transformers” series, female characters are always portrayed as the vulnerable, weak and ditzy type. But in this case, the heroine is everything but Hollywood’s ideal female character.
The central focus on Lisbeth as a person, while not completely outshining Blomkvist, draws us in. This relies more on the characters current actions rather than dwelling on the past.
The plot has a female focus in more ways than just Lisbeth’s story — the killer also hates women. Coincidentally, the film’s lead is a female character unlike any other, who seeks justice and vengeance. Ultimately, the film may be suggesting that gender roles are in the process of overturning.
Fincher’s version is not necessarily what I call a remake, but another interpretation of the first novel. Director of films like “Se7en” and “Fight Club,” he knows how to defy norms.
Borrowing the same title, settings and characters, the American version of “Dragon Tattoo” sets itself apart by diving deeper into the character’s current actions, rather than a glimpse to the past. The film’s complexity might require some abstract, often Fincher-esque thinking.
“Dragon Tattoo” is certainly no family film; it’s dark, twisty, and edgy. It takes no mercy through the brutality of the murders and sexual abuse, and most of the suspense arises from the ambiguous characters we meet throughout the film.
The cast portrays their roles exceptionally, but the true star is Lisbeth, played by up-and-coming actress, Rooney Mara. “Dragon Tattoo” is a pop culture phenomenon that breaks the rules of Hollywood traditions.
Grade: A-
Watch if you like: “Se7en”