So, this is the American adaptation of Stieg Larsson's novel of the same name, previously the subject of a rather highly regarded Swedish film adaptation. I've seen the Swedish film and have read the novel (which I hadn't before seeing the Swedish film). This, American, version is directed by David Fincher, director of films such as Seven and Zodiac, so this is sort of in his wheelhouse. The film still takes place in Sweden, just as the novel does, possibly resisting the pull to Americanize it in that way.
In case you haven't read the novel or seen the Swedish film, the story goes something like this: Mikael Blomkvist (here played by Daniel Craig) is a disgraced journalist, just convicted of libel. He's contacted by the lawyer for an old businessman, Henrik Vanger, with a proposition for Mikael, while he rides out the storm of the controversy – to investigate the murder of his niece, Harriett, some 40 years previously. The police were never able to solve it and Henrik wants to give it one last go, while he can, with a new set of eyes. During the course of the investigation, he is brought into contact with hacker Lisbeth Salander (played by Rooney Mara, who told off Mark Zuckerberg in the opening scene of Fincher's The Social Network) who investigated him for Vanger before hiring Blomkvist and joins his investigation of the murder.
Both the novel and Swedish film, in my opinion, start agonizingly slowly (and given that I know people who couldn't get through the beginnings of either, because of how slow they are, bears that out). Here, Fincher and screenwriter Steve Zaillian, are able to get the story going much more quickly. In the novel, Larsson drags things out for pages and pages to the point I wanted to scream at him to get to the point. In the Swedish film, the pacing drove me crazy – just as the story seemed to get going it had to stop, and almost get sidetracked, introducing Salander. Fincher and Zaillian create a much more even pace, where the two characters' stories are intercut better and one never feels as though it's getting in the way of the other. They cut it down to only the necessities in order to get the story going.
David Fincher has the skill and confidence to let a few shots give you needed information. Whereas the novel and Swedish film often felt as though they lacked subtlety and belabored points. If they wanted you to notice something or get a point or message, they sort of beat you over the head with it. Especially with message. There's nothing wrong with having a message, but it's less effective if you wield it like a sledgehammer. Here, it's toned down – the points are still made but with more finesse. Information and message is never a distraction from the story here.
Unfortunately, due to how much story there is in the novel and having to compress it for a film (even, here, with a two-and-a-half hour movie), some things will suffer. Characters and relationships kind of get glossed over in this film. Aside from Blomkvist and Salander, we don't really get to learn much or get to know the other characters, apart from what part they might have played in Harriett's disappearance. Literature has the luxury of being able to take the time to delve into characters and relationships and story. And there simply is just too much to be able to get into it with a film version. I'll be curious, though, on whether or not there will be an extended version once it hits home video.
Any discussion of this film would not be complete without getting into the performance of Rooney Mara. It is fantastic. I don't feel that I can really describe how great it is. It's just – wow. I'd also want to mention Jeff Cronenweth's cinematography, it's natural and just looks fantastic. The score by Trent Reznor and Atticus Ross (who won the Golden Globe and Academy Award for their score for Fincher's The Social Network) is also excellent - perhaps highlighted by a version of Led Zeppelin's "Immigrant Song", with vocals by Karen O, that accompanies the opening credits.
I know it may not be a totally popular opinion, but I, personally, liked this version better than the Swedish one. And I definitely liked it more than the book, which I got dangerously close to chucking. But, of course, they're all their own pieces that stand on their own merits and provide their own unique insights and twists on the characters and story. I think that people who may have had problems getting into either the book or Swedish film will have a better time with this one.
4 out of 5
For reference, see also my review for the Swedish film.
