David Fincher is a master. The American adaptation of The Girl with the Dragon Tattoo is a VERY faithful adaptation of the book. Even more so than the 2009 Swedish version. You can tell from the opening shot of the snowy landscape over Trent Reznor and Atticus Ross’ score that this is gonna be an entirely different beast than what the Swedish version has done. What I find funny is that these two adaptations of Steig Larrson’s epic and dense novel are almost the same exact running time of two hours and thirty minutes and yet to me, while the Swedish version felt like a rushed TV movie, this took it’s time in letting the story unfold. Unfornately, I have a feeling that Fincher will not be back for the next two. More on that later…

Lisbeth Salander (played by Rooney Mara) is a goth punk computer hacker, who is a social misfit and works for a security firm. Mikael Blomkvist (played by Daniel Craig) is a journalist who just lost a big case in which he tried to publicly exploit an tycoon, who’s money funds very illegal activities, is named Hans-Erik Wennerstrom. Henrik Vanger (played by Christopher Plummer) seizes an opportunity to take the disgraced Blomkvist, and hiring him to find out who in his despicable family murdered his favorite great-niece, Harriet. In return he will be paid handsomely and will be handed evdeince against Wennerstrom that will bring him to his knees. During his investigation Blomkvist meets and brings on Salander to help him solve the forty year old mystery of Harriet Vanger.

If you haven’t read the book(s) or seen the Swedish version then skip the next section of this review.

So first and foremost let’s talk about the changes and differences between the book and it’s two adaptations. In this, the American, version they streamlined Harriet and Anita into one character at the end for the big reveal, so that way the journey to finding her is much simpler, as they still have a ton of other things to wrap up. In the Swedish film they do stick to the novel and have Blomkvist travel to Australia to find Harriet. Cinematicaly it makes sense as first time viewers aren’t gonna watch forty five minutes of resolution as the film ties up the many loose ends from the book. Another change is at the end of this film they did not send Blomkvist to jail like in the book and Swedish version. And that’s completely understandable for the same reason I just stated. Also, once Henrik has his stroke in the movie he’s out of commission for the rest of the picture until the climax, unlike the book and the Swedish film. The first time Salander and Blomkvist have sex is done totally different but still in the nature of the two characters. The biggest change and the one that bothered me the most was Lisbeth giving away a major plot point in the second book. That she set her father on fire. The second book plays on that mystery of what she did. Even the Swedish film plays on that. And for them to nonchalantly give it away in passing at the end was poor.

End of spoilers

Rooney Mara kilt it as Lisbeth Salander. She totally embodied Lisbeth with the ticks and nuances that the character has. I loved how when ever she entered a room where people she cared about would be she would say “hey hey hey” in the cutest, inviting way. She was also ferocious when she needed to be, giving that hard edge that came with the character. But to me the key to her performance was in the eyes. At times her eyes tell you she broken by the harsh world around her. When Blomkvist comes into her life and towards the end in her eyes you can see that hole in her is filled which makes the ending even more heartbreaking than what was presented in the book. However, I did like Noomi Rapace better than Rooney, just because Noomi has a certain grit that she brings to Lisbeth making her more hard edge than Rooney. Not to knock Rooney as she does such a great job with such a demanding role. Rooney brought a more human element to Lisbeth Salander that was missing from Noomi’s version. She hides nothing on screen as I’m pretty sure in one brief shot you can see her vajayjay. Daniel Craig is Mikael Blomkvist. He brings the certain suave to the character and he is attractive enough where you believe he could sleep with women like how Stieg wrote in the book. Granted he doesn’t sleep with Celia Vanger like in the book, but to me he did a much better job than what Michael Nyqvist did. Also, I believed the relationship more in this one than in the Swedish film as I think Rooney and Daniel played off each other better. You can see their affections grow alot more in this version.

Which brings me to the man, the myth, the legend David Fincher. There are certain shots that can only come from the mind of Fincher. And the humor he brought with it too. Such as during a torture scene the killer plays Enya’s “Sail Away”. It certain little things like that where you’re laughing and then appalled the next second. This is a brutal film. My hat goes off to David and Rooney for the rape scene. That is one of the most painful rapes to watch in cinema history. I was squirming in my seat, as I was witnessing what was unfolding on screen. If you read the book and seen the Swedish version, nothing can prepare you for how graphic and brutal that was. Also, the cat turning up dead on the doorstep was ten times worse than what Stieg wrote. Especially, when it gets to a close-up on the cat. Disgusting. Also, only David Fincher could create a opening credit sequence that is epic and like nothing we’ve see before with black metallic oil morphing into characters and symbols from the movie. Also, having Trent and Karen O’s excellent version of “Immigrant Song” play over the opening credits boldly states where here, were epic, be prepared for an intense crime thriller.

Speaking of the score, Trent and Atticus Ross made a moody atmospheric score. And while I prefer The Social Network’s score to this one, it’s still a fine score in it’s own right. The score under that rape scene enhanced it by making it that much more unnerving than any other cinematic rape I’ve ever seen. The score is harrowing doing what a score should. Enhancing each scene and adding depth making what your watching much more subliminal on how you feel and are viewing the film.

Before, I wrap this up, I wanted to go back and talk about Sony. From what I was told Fincher’s first cut of the film was three hours and seven minutes. And by all means he should’ve released his cut. David is one of the hardest working filmmakers in the business. Coming onto this project just twenty six days after completing The Social Network. To me any filmmaker who gave you a hit with Panic Room, and then gave you a classic film that speaks for a whole generation with The Social Network deserves carte blanche. From what I’ve been told and heard he was strong armed into making this two hours and thirty minutes to get more showtimes in theaters. Also, the complex viral marketing and scavenger hunt with the site mouth-taped-shut.com is supposedly getting him into to trouble with Sony. You hired an auteur to make such an amazing adaptation and this is how you treat him? I’m scared because I want Mr. David Fincher to complete his trilogy and I don’t think it’s gonna happen because of dumbass studio executives, who can’t let the man have fun and make the best product possible and give a fun treat to the fans.

All in all I can’t wait to see this again at the opening midnight show. It was alot to take in and seriously my hat goes off to everyone involved in this production. After viewing the two film versions and reading the book, it’s best to say to judge these in their own entities as they’re their own works in their own right.

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