(2011) Thriller (MGM/Columbia) Daniel Craig, Rooney Mara, Christopher Plummer, Robin Wright, Stellan Skarsgard, Steven Berkoff, Yorick van Wageningen, Joely Richardson, Geraldine James, Goran Visnjic, Donald Sumpter, Ulf Friberg, Julian Sands, Moa Garpendal, Embeth Davidtz. Directed by David Fincher
Sometimes a movie is so good when it is originally made that it seems virtually unthinkable that it be remade. Most of the time, those remakes fall far short of the mark. Once in awhile however, the remake comes out with a voice of its own that offers something to the original, enhances it even.
Purists were aghast when the hit Swedish film The Girl With the Dragon Tattoo was set for an American remake. There was some comfort in that Fincher, whose pedigree includes Se7en and Fight Club would be behind the camera but still there were shudders to think of what liberties and watering down Hollywood would do to the source material, the late Stieg Larsson’s novel (the first in a trilogy, all of which have been translated to film in Swede and all of them reviewed elsewhere on the site) which was grittier and more brutal than Hollywood tends to be.
Mikael Blomkvist (Craig), a crusading journalist and co-publisher of the left-leaning Millennium magazine has been convicted of libel against a wealthy Swedish venture capitalist named Hans-Erik Wennerstrom (Friberg). The judgment against Blomkvist essentially empties out his savings and puts Millennium at risk of failing. His co-publisher and lover Erika Berger (Wright) confesses that the magazine may have three months of life left at best.
Wennerstrom isn’t the only one looking into Blomkvist. A security firm is hired by lawyer Dirch Frode (Berkoff) to investigate Blomkvist and the operative of the security firm, Lisbeth Salander (Mara) is asked to turn in her report in person, something that makes her uncomfortable. It turns out that her report is pretty thorough and the few things that are missing are best left that way.
Berkoff represents reclusive industrialist Henrik Vanger (Plummer) who wants to hire Blomkvist to investigate the disappearance of his grand-niece Harriet (Garpendal) whom he believes was murdered by a member of his family 40 years earlier. There are certainly plenty of suspects; ex-Nazis who may not be as ex as they might have you believe; bitter, jealous and greedy, grasping money-grubbers, torturers, rapists and pederasts. Makes for quite a Christmas list.
At first Blomkvist is met with hostility from nearly everyone other than Martin (Skarsgard), Harriet’s brother who is skeptical that Blomkvist will find out anything new. Martin is running the family business now and not running it with much success. The once-vast Vanger empire is shrinking; once a great steel and railway manufacturer, they make most of their profits from fertilizer these days. Considering all the BS that is fed to Blomkvist, I’m quite certain he must have thought that appropriate.
As Blomkvist discovers that his e-mail was hacked by Salander (whose identity he doesn’t yet know), he is infuriated but begrudgingly realizes he needs a research assistant as he is making a little bit of progress but needs someone who can help him dig things up from corporate records at Vanger Industries. He meets Salander who proves to be skittish but intrigued; she isn’t very fond of men in general, having been raped brutally by her state-appointed guardian Nils Bjurman (van Wageningen). She did get her revenge however and proved herself someone not to mess with in the process.
Blomkvist and Salander turn out to make a formidable team and the lies and prevarications of 40 years of silence begin to slip away and they discover Harriet’s disappearance may be the gateway into a much more hideous secret – and that Harriet may not be the only victim. Worse yet, the killer is fully aware of their discoveries and has them both firmly in their sights.
When I found out about this remake, I was like most fans of the books and the Swedish versions somewhat troubled. I couldn’t see Hollywood allowing a movie to include scenes of graphic rape and torture, all of which were at the heart of the previous versions. I fully expected something sanitized and vapid. Then I heard that it was Fincher directing, and to be honest my reaction was “He’s probably the only director in Hollywood who could pull it off,” but I thought he might have difficulty getting the studio to allow him free rein to make the movie he wanted.
Surprisingly he did and we might have The Social Network to thank for it. The runaway commercial and critical success of that film has given Fincher greater clout than he’s had previously and might have allowed him to shut down studio interference in the project. Certainly the rape sequence and the torture sequence late in the film are as disturbing as those in the Swedish film and the book.
Craig was only able to do this film because of the delay in filming the latest James Bond. Here he plays a man unused to action, one more cerebral than some of the heroes he’s played lately and quite frankly Craig is up to the task. It is as different a role from Bond as you can get but equally as heroic, and if this franchise is successful will really put up Craig among the elite stars working today.
Mara is the breakout star here. One had to worry if she could fill the shoes of Noomi Rapace, who was so very central to the success of the Swedish trilogy. Not only does Mara fill those shoes, she may well surpass them and will herself into stardom; this is a star-making performance to say the least. Salander is a tortured soul and certainly Mara captures that, but she’s also no longer willing to be a victim and the inner strength that makes Salander one of the most interesting heroines of all time is very much evident here as well. She may wear outlandish hair styles, provocative t-shirts and smoke far too much but she is also brilliant as well.
The movie is a bit longer than three hours long which was nearly more than my poor bladder could take – theater sodas are so darn large these days! It also fleshes out the Swedish film quite nicely, although the Swedish version ends with the death of the killer more or less with a brief coda showing a television report that covers the denouement between Blomkvist and Wennerstrom. The American version plays that out a bit further which frankly was unnecessary for my taste.
Still, this is some terrific filmmaking buttressed by some great performances, particularly in the case of Mara (Plummer and Skarsgard, both veteran actors, also deliver solid performances). It may be too intense for some, a bit too long for its own good but by and large this is a really good movie that doesn’t disgrace its source material in the least; if anything, it enhances it nicely and makes for a worthy addition to Larsson’s legacy.
REASONS TO GO: Mara does a star-making turn here. Based on one of the best-written thrillers in recent years. Great cast and production values.
REASONS TO STAY: The violence and sexuality can get very intense. Doesn’t measure up to the original in several critical areas. Overly long.
FAMILY VALUES: There is some very disturbing content here, including graphic rape and torture. There is also plenty of nudity and sexuality and a surfeit of naughty words.
TRIVIAL PURSUIT: The piercings that Rooney Mara sports as Lisabeth Salander are real; none of them are cosmetically or digitally enhanced. Mara got them for the movie.
HOME OR THEATER: Some of the empty vistas of Northern Sweden seem best on the big screen but it might not be a bad thing to see this at home in front of a roaring fire on a cold night.
FINAL RATING: 7.5/10
TOMORROW: The Artist