It feels like I just watched the Swedish adaptation of Stieg Larsson’s trilogy in theatre. Since the first film was released only two years ago, that’s not that far from the truth. Director David Fincher’s attraction to the material isn’t surprising, but a remake of such an acclaimed, recent picture is unnecessary. Nonetheless, the film is well-done and just different enough to make an individual mark.
Mikael Blomkvist (Daniel Craig) is an investigative reporter for an independent magazine. He’s recently lost a libel suit, resulting in a significant personal loss and much interest in his affairs. So when he’s offered a job that pays generously and removes him from the spotlight, he accepts. Business tycoon Henrik Vanger (Christopher Plummer) hires Mikael to find out who killed his great-niece 40 years ago, convinced the murderer is a member of his family.
Meanwhile, Lisbeth Salander (Rooney Mara) is losing her independence with the deteriorating health of her guardian. Her assigned social worker is a sexual sadist, who takes advantage of his authoritative position – until she ends his reign. Lisbeth is also an inquisitive mind with unmatched computer hacking skills. It is in this capacity she comes to work with Mikael. Together they complete the puzzle, unmasking a serial killer and a long buried secret.
There are two elements that become increasingly clear while watching the film: it features disturbingly graphic violence and it’s akin to a pulp story. The rape sequences are obviously about power, but their severity can be difficult to stomach. In addition, the animal mutilation and crime scene photographs sustain the explicit nature of the film through the latter half. The pulp aspect comes from the heavily detailed mystery that occupies the majority of the narrative. Fincher bravely embraces both elements of the material completely and does not hold back.
It’s impossible not to compare Mara’s performance to Noomi Rapace’s portrayal of Lisbeth. Nonetheless, Mara makes her own mark on the character, giving her a unique mix of vulnerability and aggression. Her words are very deliberate as are her brisk interactions with most people. Though her blunted bangs are endlessly annoying.
Craig delivers a fitting and not uncharacteristic performance as the curious, determined reporter. Plummer is typically charming, though Stellan Skarsgård doesn’t make much of an impression despite the important role he plays in the story.
In any case, the main reason this film was produced was the portion of the film going public that dislikes subtitles. The only key difference between the original film and its remake is the casting. It would have almost been preferable if the filmmakers thoroughly Americanized the script versus retaining the Swedish locations and names – even all the written language is still Swedish– making it even more gratuitous.
Fincher’s influence is most evident in the opening credit sequence and his excellent use of the music produced by Trent Reznor and Atticus Ross, including a cover of Led Zeppelin’s “Immigrant Song.” The external soundtrack cues to significant moments are effective without seeming overly manipulative.
In the end, I’d still recommend you rent the original adaptation, but this isn’t a terrible version either.
