Call me slow off the mark, but I’ve only just now seen The Girl with the Dragon Tattoo, the film adaptation of the first novel in Stieg Larsson’s Millennium trilogy.
Like many before me I have thoroughly enjoyed the film. It epitomises the best of contemporary Swedish cinematography: dark, brooding, and sinister. Frankly, on close analysis – and with the exception of some of the more sadistic elements – it has the same list of ingredients as your average American thriller, but the raw and very honest acting mixed with some genuinely good plot twists have made for a sublime end product.
In a way I’m pleased I haven’t yet read the book on which the film is based. Anecdotally, I think Steig would have been fairly happy with the director’s finished product, although asking has become difficult because Larsson passed away in 2004 of a heart attack; the film came about posthumously in 2009.
I wouldn’t consider myself a film critic in any sense and yet I think good films awaken the critic in all of us. It might have something to do with the fact a well made film actively encourages audience participation, resulting in the sense of ownership that comes from participating in a story line. Throughout this film the important thing to bare in mind (I think) is that it is one of three, and that the sadistic moments that, on the surface, might appear unnecessary or gratuitous are in fact critical in the long run.
The
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Because I’m not a critic I don’t think I’ll venture a line-by-line review. What I will say is that I’m thoroughly looking forward to the next instalment, as well as getting my hands on a copy of the book. I suddenly have an overwhelming urge to scratch up on my Swedish so I can read the original work, but the English version may have to suffice for the time being.
