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Gareth von Kallenbach (980 KP) rated The Girl with the Dragon Tattoo (2011) in Movies
Aug 7, 2019
Following the very successful adaptation of Stieg Larssons millennium trilogy into three very successful Swedish language films, it came as no surprise when Hollywood announced that it would be making an English-language version of the series. Director David Fincher was announced to craft the first book in the series, The Girl with the Dragon Tattoo. The new version follows very close to the original material with one fairly big exception which I will detail later in the review.
Daniel Craig stars as Mikael Blomkvist, who at the opening of the film has recently lost a court case for which he was being sued for libel by a prominent business figure. His career is in ruins and virtually all of his savings gone as a result of the trial and punitive damages. So when he is contacted by an attorney representing the wealthy and powerful Vanger family, he agrees to meet. Although highly reluctant to take a meeting, Mikael takes the four hour train ride north of Stockholm to a cold and remote island to meet with Henrik Vanger (Christopher Plummer). Henrik wishes Mikael to investigate the disappearance of his niece some 40 years earlier, a niece vanished under the families’ very noses and not a trace of her has been discovered since. Henrik is convinced that she has met with foul play, yet every year on his birthday, he continues to receive a gift of ornate pressed flowers in an anonymous package.
Henrik believes that the killer is haunting him by sending the gifts and that a member of his family may be to blame. Although skeptical of being able to find anything 40 years later, Mikael accepts the case and soon sets up residence in a small cabin on the island and begins his investigation by combing through police reports, conducting interviews, and examining photographs and newspaper clippings. Mikael had been warned that the other members of the Vanger family may not be too thrilled with his presence as not only is the family fractured, they all have their share of secrets.
At the same time, a very Goth punk girl named Lisabeth (Rooney Mara), is fighting her own demons. Lisabeth is an extremely gifted computer and surveillance expert who specializes in gathering background information on individuals. As such, her skills have made her in high demand with her employer. Unfortunately, Lisabeth is also a deeply antisocial person who is prone to lash out violently if provoked. Much of this stems from an extremely traumatic childhood spent in institutions which resulted in Lisabeth being placed as a ward of the state, not deemed competent to care for herself. This arrangement requires her to check in on a regular basis with a representative who, unfortunately for her, has recently suffered a stroke and places her in the care of the new guardian.
The new guardian subjects Lisabeth to horrific demands just so Lisabeth can access her money. The traumatized Lisabeth does not play victim long and in a twist of fate, is assigned by Henrik’s attorney to assist Mikael since she did the background check on him prior to Mikael being approached by Henrik for the investigation. The unlikely duo combined to form a highly efficient pair as they start to piece together the clues which indicate a brutal string of murders leading back for decades. As they work together, the relationship deepens and the reserved Lisabeth starts to come out of her shell. Tension mounts as danger surrounds them in an epic race against time to solve the case that certain members of the family do not want solved.
The film runs approximately 2 hours and 45 min and does take a little while to get started as the landscape and back story of the characters is established. The film has some very dark and brutal moments, which are hard to watch, yet were not as graphic as those in the Swedish language version. Craig and Mara work very well with one another and props to Craig for being willing to put on weight and occasionally looked disheveled to enhance his character.
Mara gives a masterful performance as the complicated Lisabeth, the anti-damsel-in-distress heroine, who subtly shows the many complicated sides to the character. Noomi Rapace first portrayed the character and has gone on to prominent success in Hollywood with a slew of upcoming high profile films. I would expect nothing less for Mara with two other sequels in this series to film. I am sure this breakout performance will not go unnoticed as it is an extremely difficult and daring role that few in Hollywood would want to tackle, much less be able to pull off as convincingly as she did.
I was extremely happy to see that the character names, settings, and situations were not changed in the new version, and it was refreshing to see the film set in Sweden and not relocated to London or New York. The biggest issue I had with the film was with the ending, which deviated from the previous versions. I will not provide spoilers, suffice it to say the resolution was a bit too tidy of a Hollywood ending and in my opinion greatly undermined one of the central characters of the film. That being said the film is a bold and dynamic vision from Fincher and is a deeply dark and disturbing story that is difficult to forget.
Daniel Craig stars as Mikael Blomkvist, who at the opening of the film has recently lost a court case for which he was being sued for libel by a prominent business figure. His career is in ruins and virtually all of his savings gone as a result of the trial and punitive damages. So when he is contacted by an attorney representing the wealthy and powerful Vanger family, he agrees to meet. Although highly reluctant to take a meeting, Mikael takes the four hour train ride north of Stockholm to a cold and remote island to meet with Henrik Vanger (Christopher Plummer). Henrik wishes Mikael to investigate the disappearance of his niece some 40 years earlier, a niece vanished under the families’ very noses and not a trace of her has been discovered since. Henrik is convinced that she has met with foul play, yet every year on his birthday, he continues to receive a gift of ornate pressed flowers in an anonymous package.
Henrik believes that the killer is haunting him by sending the gifts and that a member of his family may be to blame. Although skeptical of being able to find anything 40 years later, Mikael accepts the case and soon sets up residence in a small cabin on the island and begins his investigation by combing through police reports, conducting interviews, and examining photographs and newspaper clippings. Mikael had been warned that the other members of the Vanger family may not be too thrilled with his presence as not only is the family fractured, they all have their share of secrets.
At the same time, a very Goth punk girl named Lisabeth (Rooney Mara), is fighting her own demons. Lisabeth is an extremely gifted computer and surveillance expert who specializes in gathering background information on individuals. As such, her skills have made her in high demand with her employer. Unfortunately, Lisabeth is also a deeply antisocial person who is prone to lash out violently if provoked. Much of this stems from an extremely traumatic childhood spent in institutions which resulted in Lisabeth being placed as a ward of the state, not deemed competent to care for herself. This arrangement requires her to check in on a regular basis with a representative who, unfortunately for her, has recently suffered a stroke and places her in the care of the new guardian.
The new guardian subjects Lisabeth to horrific demands just so Lisabeth can access her money. The traumatized Lisabeth does not play victim long and in a twist of fate, is assigned by Henrik’s attorney to assist Mikael since she did the background check on him prior to Mikael being approached by Henrik for the investigation. The unlikely duo combined to form a highly efficient pair as they start to piece together the clues which indicate a brutal string of murders leading back for decades. As they work together, the relationship deepens and the reserved Lisabeth starts to come out of her shell. Tension mounts as danger surrounds them in an epic race against time to solve the case that certain members of the family do not want solved.
The film runs approximately 2 hours and 45 min and does take a little while to get started as the landscape and back story of the characters is established. The film has some very dark and brutal moments, which are hard to watch, yet were not as graphic as those in the Swedish language version. Craig and Mara work very well with one another and props to Craig for being willing to put on weight and occasionally looked disheveled to enhance his character.
Mara gives a masterful performance as the complicated Lisabeth, the anti-damsel-in-distress heroine, who subtly shows the many complicated sides to the character. Noomi Rapace first portrayed the character and has gone on to prominent success in Hollywood with a slew of upcoming high profile films. I would expect nothing less for Mara with two other sequels in this series to film. I am sure this breakout performance will not go unnoticed as it is an extremely difficult and daring role that few in Hollywood would want to tackle, much less be able to pull off as convincingly as she did.
I was extremely happy to see that the character names, settings, and situations were not changed in the new version, and it was refreshing to see the film set in Sweden and not relocated to London or New York. The biggest issue I had with the film was with the ending, which deviated from the previous versions. I will not provide spoilers, suffice it to say the resolution was a bit too tidy of a Hollywood ending and in my opinion greatly undermined one of the central characters of the film. That being said the film is a bold and dynamic vision from Fincher and is a deeply dark and disturbing story that is difficult to forget.
Hazel (1853 KP) rated Mirror, Shoulder, Signal in Books
Aug 7, 2017
Danish Literature
I received this book for free through Goodreads First Reads.
Shortlisted for The Man Booker International Prize 2017, Mirror, Shoulder, Signal is a piece of Danish literature by Dorthe Nors, translated into English by Misha Hoekstra. It has a tragicomic nature, introducing the 40-year-old Sonja, a woman who is trying but failing to move in the right direction.
Sonja is the type of character full of flaws that readers will recognise in themselves. Although she has successfully become self-employed, translating crime novels from Swedish into Danish, Sonja feels she has not accomplished anything in life. Despite one unlucky attempt at love, Sonja has remained single, moving to Copenhagen in an attempt to find herself. Determined to earn her driving licence Sonja braves the lessons in the busy city, however, she cannot handle gear changes. In other areas of her life, she tries weekly massage therapy and attempts a meditation exercise. Unfortunately, Sonja remains apathetic to the whole scenario and would rather be somewhere warm eating cake.
Mirror, Shoulder, Signal is a cleverly crafted title that makes repeat appearances throughout the narrative. The three words are instructions that Sonja repeats as a mantra each time she pulls away from the curb in her instructor’s car. The majority of the book takes place during these lessons, or, if not there, face down on Ellen’s massage table.
Sonja’s narration constantly varies between the present and memories from her childhood. A particular focus is the recollection of events involving her sister Kate. They may not have been close when they were young, but now it is almost impossible for Sonja to contact her sister. It is as though Sonja has been alienated from her own family.
Embellished with sexual innuendos, poor attempts at humour fail to bring any excitement to the story. There is no clear plot. At the beginning, readers may wonder if she will earn her driver’s licence – she does not – find love – she does not – find herself – she does not. What, then, was the point of this novel? Apart from a suggestion of future happiness in the final chapter of the book, there is no sense of resolution.
The issue with some translated stories is the loss of original intent and meanings. This does not seem to have been much of a problem in this instance; however, the translator has not been entirely successful in converting the Danish into a naturally flowing English.
Overall, Mirror, Shoulder, Signal is a bit of a disappointment, especially because it has been shortlisted for such a prestigious prize. Since the prize is meant to be awarding the author for continued creativity and contribution to fiction, it makes you wonder what critics saw in this novel to believe it stood a chance at earning the honour.
Shortlisted for The Man Booker International Prize 2017, Mirror, Shoulder, Signal is a piece of Danish literature by Dorthe Nors, translated into English by Misha Hoekstra. It has a tragicomic nature, introducing the 40-year-old Sonja, a woman who is trying but failing to move in the right direction.
Sonja is the type of character full of flaws that readers will recognise in themselves. Although she has successfully become self-employed, translating crime novels from Swedish into Danish, Sonja feels she has not accomplished anything in life. Despite one unlucky attempt at love, Sonja has remained single, moving to Copenhagen in an attempt to find herself. Determined to earn her driving licence Sonja braves the lessons in the busy city, however, she cannot handle gear changes. In other areas of her life, she tries weekly massage therapy and attempts a meditation exercise. Unfortunately, Sonja remains apathetic to the whole scenario and would rather be somewhere warm eating cake.
Mirror, Shoulder, Signal is a cleverly crafted title that makes repeat appearances throughout the narrative. The three words are instructions that Sonja repeats as a mantra each time she pulls away from the curb in her instructor’s car. The majority of the book takes place during these lessons, or, if not there, face down on Ellen’s massage table.
Sonja’s narration constantly varies between the present and memories from her childhood. A particular focus is the recollection of events involving her sister Kate. They may not have been close when they were young, but now it is almost impossible for Sonja to contact her sister. It is as though Sonja has been alienated from her own family.
Embellished with sexual innuendos, poor attempts at humour fail to bring any excitement to the story. There is no clear plot. At the beginning, readers may wonder if she will earn her driver’s licence – she does not – find love – she does not – find herself – she does not. What, then, was the point of this novel? Apart from a suggestion of future happiness in the final chapter of the book, there is no sense of resolution.
The issue with some translated stories is the loss of original intent and meanings. This does not seem to have been much of a problem in this instance; however, the translator has not been entirely successful in converting the Danish into a naturally flowing English.
Overall, Mirror, Shoulder, Signal is a bit of a disappointment, especially because it has been shortlisted for such a prestigious prize. Since the prize is meant to be awarding the author for continued creativity and contribution to fiction, it makes you wonder what critics saw in this novel to believe it stood a chance at earning the honour.