Title: The Girl with the Dragon Tattoo
Country: USA, Sweden
Genre: Crime, Drama
Director: David Fincher
Yorick van Wageningen
David Fincher never fails me, even including the underwhelming THE CURIOUS CASE OF BENJAMIN BUTTON (2008) (which I think I seriously need a re-watch), the American remake of THWTDT is as excellent as its Swedish archetype if not excels in every aspect.
Karen O’s Led Zeppelin cover Immigrant Song serves as the explosive opening track and dovetails with Fincher’s surreal MV-esque opening credit, instantly enhancing the thrill upon to an adrenline-driven index, eye-dashing, jaw-dropping, so up-to-the-minute yet bespeaks its own attitude, a thriller hipster for this age.
The storyline slightly differs from the original Sweden version (the ending is more agreeable for me, a sympathetic outline of Lisbeth plainly strengthens her character with additional authenticity and pathos. I also prefer the cast in this American version, Daniel Craig manages to embellish his rugged complexion with an anti-Bond vulnerability and a morally passive average-joe journalist, subjectively I opt him over Michael Nyqvist. As for Rooney Mara, under Fincher’s guidance, her Tomboy bent (inwardly in particular) has been exploited to an uppermost bloom, the rape-and-vengeance scenes are the aces in the hole (with a more genial appearance of the pervert by Yorick van Wageningen), compared to Noomi Rapace, I just admire Mara more and it’s super to see her to re-enact such a ground-breaking female role fervently and sparks dynamically in just 2 years. I must say she is a more attractive girl to any extent . Among the supporting group, Stellan is creepily swell and happy to see a Penn-free Robin Wright with her new look, fringe does make a difference!
Trent & Atticus Ross’ score is another feat (after a victory foray in THE SOCIAL NETWORK 2010 with new buddy Fincher), the pervasive, humming, quasi-vibration background soundtrack is like a prolonged Post-Rock/Experimental album, highlights the narrative turbulence along the way, until the notoriously basement scene about slaughter fetish. Also Jeff Cronenweth’s stunning cinematography is another Oscar-bait, good luck on the Oscars, after snagging a surprising DGA nomination for Fincher and a steady Box Officer implementation, I hope it could make some upheaval in this year’s languid Oscar race.