The Girl with the Dragon Tattoo
Rendező:
David FincherForgatókönyvíró:
Steven ZaillianOperatőr:
Jeff CronenwethSzereplők:
Daniel Craig, Rooney Mara, Christopher Plummer, Stellan Skarsgård, Steven Berkoff, Robin Wright, Yorick van Wageningen, Joely Richardson (több)Streaming (4)
Tartalmak(1)
A levitézlett újságíró, Mikael Blomkvist (Daniel Craig) elfogad egy felkérést, hogy titokban nyomozzon ki egy régi, ám megoldatlanul maradt gyilkossági ügyet. A megbízó az áldozat nagybátyja, a svéd iparmágnás, Henrik Vanger (Christopher Plummer). Egy agyontetovált hackert, Lisbeth Salandert (Rooney Mara) közben arra bérelnek fel, hogy Blomkvist után kutasson. A lány rájön, hogy összeesküvés vezetett az újságíró bukásához. A véletlen úgy hozza, hogy kettejüknek együtt kell folytatniuk a nyomozást. A múlt szövete alatt rothadó, gyilkosságtól és perverzióktól bűzló titkokra bukkannak. Egyre közelebb kerülnek a mindkettőjüket bekebelezni készülő, bujkáló gonoszhoz. (InterCom)
(több)Recenziók (12)
David Fincher is one of the best directors alive and it’s not surprising that he’s made an excellent film. The differences between the American and Swedish adaptations are enough to invalidate the argument of a pointless remake, but I’m still unable to convince myself that I should be satisfied with this new version, I’m not, even though the quality is clear. In short, watching a whodunit when you know who the killer is, is as much fun as going to the sea to watch dolphins, even though you know that dolphins don’t live in that sea. You can enjoy the fresh sea breeze, work on a tan, have a cold alcoholic beverage… but you still know that you won’t see any dolphins.
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My slight disappointment stems paradoxically from my ignorance of the book, which is obviously not very suitable for filming. This is because the quantity of names becomes annoying after a while, although otherwise, Fincher does great work as usual in all other components, so we do get a great soundtrack (but this time it's too "off the charts" for the Oscar race:)), excellent cinematography (which underlines the pedantic narrative), and precise actors. But I'll definitely go see it again. The fact that the gardener is the murderer will soon dawn on even the slower folks, but that's beside the point. How we get there is the first priority this time. Fincher is the best director alive right now, period.
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If I compare the procedural ritual Zodiac and this sexless genre trap, it's clear that Fincher was doing a studio job. Nordic detectives are not cool. They're really weird. This version was unable to capture this at all. The investigation is secondary here, and what makes it twice as bad given that it’s Fincher - any pathological charge slips away here. The fact that the killer listens to Enya is a weak band-aid. Anal sex in the form in which the film offers it can really outrage only unbroken Catholics, and there were more places where I searched in vain for Fincher's contribution. Personally, I suffered through most of the film - and something tells me that if you don't know the book, some of the things won't make sense (for a detective story, the motivations of the killer and the detective are quite crucial, which are hardly found here).
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An atmospheric illustration of a subordinate storyline from the novel; nothing more, nothing less. On one hand it is terribly little for Fincher (a special aspect of his preceding five adaptations of novels was that he always used his own interpretation and viewpoint, and Larsson offers much in this respect; too bad that he cut it down to this unimportant thrilleroid part), on the other it must be said that there are illustrations by nobodys and illustrations like those by Zdeněk Burian, which enrich the original story and become inseparable. And, in the same way that Craig is Blomkvist and Mara is Lisbeth (although an utterly different Lisbeth than Noomi), this is Burian. And yes, Fincher is still the same formal pedant under whom Reznor is growing into one of the timeless greats. Just Enya, removed of innocence once and for all, disappointed.
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To make an accurate comparison of both the European and North American versions would mean watching both films at once or shortly after each other. I saw the initial adaptation almost two years ago, so I dare not make a categorical conclusion. Nevertheless, the comparison of both versions and their quality is the most interesting aspect of the whole matter. There is a significant difference between European and American blockbuster films. With the overseas version, it is evident that we are operating in a completely different budget category, so the opening credits nail you to your seats with an audiovisual onslaught when you see the impressive transformations of the main characters' bodies in a sea of liquid latex. You appreciate the top-notch camera work and excellent music accompaniment. Whether it was in exteriors or interiors, no expense was spared. The main male role was, presumably, taken on by one of the highest-paid actors of today, who filled the gap between shooting Bond movies. The whole film was overseen by one of the most acclaimed directors of the past two decades. Instead of unknown European actors, you see internationally known faces of Hollywood stars. A film has been created that will likely have an impact on the Oscars and will successfully be distributed worldwide. There are no significant differences in the plot between the American and European versions; both films try to faithfully bring the book version to the screen within the possibilities of their respective runtimes. The American version is perhaps somewhat more commercial; it aims for a universal appeal to audiences from different cultures and countries, so it doesn't allow the viewer to dwell too much on the unspoken - it is more literal. In some places, that is to the detriment of the story. I would certainly not reduce the relationship between Blomkvist and Lisbeth to a purely sexual level, quite the opposite. Even with the generous runtime, it is surprising how little the film delves into the psychology of individual actors, showing their motivation, the demons that lead to a series of crimes, and the moves of the individual adversaries. As I mentioned before, the American version is more ambitious, and likely better made, as there is a difference between Fincher and Oplev, but when I think about it, Oplev's version is more likable to me after all. Let's not beat around the bush, the "Millennium Trilogy" became a hit not because of the character of the investigative journalist - there are dozens of those in books - but because of the edgy punk girl with somewhat sociopathic behavior and exceptional hacking skills. And here, in my eyes, Noomi Rapace clearly leads the way. She has a peculiar charisma, she is unfamiliar, so one can easily identify with her as Lisbeth and root for her. Rooney Mara is a capable actress, but the chemistry between her and me as a viewer simply did not work as it should have. She even seemed a bit unsympathetic to me, which made it hard to root for her. I can think of a few other names that I would have preferred to see in that role. In any case, this film is definitely worth a trip to the movie theater, if only for its excellent soundtrack and professional execution. Only a few blockbusters maintain a level that doesn't offend film connoisseurs, but I have to say that, emotionally, the American version somehow missed the mark for me. I don't need to see this film again. Overall impression: 75%.
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It’s not the Fincher masterpiece that we are used to, but book adaptations are never easy to (this time I didn’t have time to read it beforehand). The middle part with the investigation itself runs very smoothly, but both the introduction and the conclusion, despite being excellent, are a little cumbersome. The atmosphere of the frozen Swedish planes is nicely illustrated, precise direction as always and the hypnotic music of Trent Reznor. The cast is A-grade. Both Craig and Mara are perfect. A well-thought out, tense story. But don’t expect it to be the event of the winter.
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A nice mainstream fairy tale. The humor and story work even if haven’t read the book or seen the original trilogy. It wasn’t that long ago that Hollywood found it necessary to update and rewrite Japanese and other horror flicks, but if it's currently fashionable to remake Swedish films, I'm somewhat more sympathetic to that. Lisbeth Salander is a girl that contemporary mass pop culture can't do without, so why not be happy that her series is good? Fincher doesn't always suit my tastes, I don't seek out Craig, and I wouldn't have thought Rooney Mara would be capable of such a personality after the Facebook girl. I'm very fond of Stellan Skarsgård this year and Christopher Plummer is king, but the person who is a downright joy to see on screen is the ethereal being Joely Richardson. I need to see Joely more often, and I'm very much in the mood for a little marathon with the original Lisbeth - and that's exactly the effect the film was supposed to have.
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David Fincher's directorial style is beautifully easy to recognize, he imparts it to every one of his films. Brilliantly crafted dialogues, musical score, uncompromising atmosphere. This film could have been made in a number different ways. Essentially, it is a considerably clichéd and well-known story about a serial killer, but in the hands of a master, it becomes a unique cinematic delicacy, where ordinary things are presented in a completely extraordinary and distinctive manner. In the end, it is a seemingly well-behaved and coherent film that is brutally eccentric and demonically precisely shot. I wouldn't expect anything less from Fincher.
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Much better than the Swedish film, much more faithful to the book, with much better chosen actors... I didn't expect that. The biggest asset of Fincher's version (which is by no means a remake of the film, but a new version of the original) is Rooney Mara, who plays Lisbeth Salander. She looks much weirder than Noomi Rapace and gives a much more inscrutable impression, throwing completely irresistible blank stares - she's just great. Daniel Craig plays second fiddle, but he plays it like a virtuoso. The casting of the other roles is also successful without exception, I was very pleased with Robin Wright, and I was also impressed by the performance of the lieutenant Bjurman. David Fincher evoked a very gloomy atmosphere from the very beginning (the credits must have cost as much as a Czech TV movie) and didn't let it go until the end, whilst the screenwriter (unlike the one who messed up the Swedish film) managed to squeeze everything important into two and a half hours, not strangely twisting anything and leaving out only things I could have done without in the book. To deduct stars from The Girl with the Dragon Tattoo for being "just" a mere genre film would be silly.
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It's obvious that his film is a completely unnecessary contribution considering the two years older original, but that in itself doesn't detract from the fact that it's excellently made and once again highlights Fincher's mastery as a director. After Se7en and The Game, it would seem that he can't surprise with anything, but he makes another great two and a half hour detective story based mainly on interviews and collecting clues, and not only keeps the viewer's attention, but also perfectly imbues them with his dark style and pulls them right into the middle of that merry-go-round. He had already worked with similar material in Zodiac, but here he goes one step further, with not only excellent actors, music and settings, but above all a subtle and clearly defined theme with which he can work miracles. I’m not saying that he’s made a perfect or groundbreaking film, and I understand the lukewarm reception from the supporters of the Swedish original, but for me as a big Fincher fan, The Girl with the Dragon Tattoo was a great experience that I will remember for a long time. 90%
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I wondered from the start why Fincher was throwing away the unoriginal but grandiose and clumsy Larsson source material. He clearly wasn’t that interested in it. He doesn't waste much directorial input on the investigation itself, and his typical subtle subversiveness is identifiable here perhaps only during the scene in which he suggests that Enya is arguably the world's whitest musical performer (I'll save my search for a connection to Dylan Moran's claim that if a vagina could talk, it would sound exactly like Enya, for another day). Fincher is only interested in one thing here – Lisbeth Salander. This builds on his study of the emerging new generation of young people who, through information technology and reckless pragmatism, are breaking down the centuries-old emeritus structures of elites, which he began in The Social Network (where, for example, recall the illustrative scene where, while the rich and the noble in funny hats, champagne in hand, get drunk watching the boys duel it out with their oars, Zuckerberg is silently extending Facebook's influence into Europe from his bedroom). Fincher's thesis in this study was that transhumanity, the merging of machine and human consciousness, occurs with the body becoming the carrier of data but still remaining a body (see the frequent and intense sex scenes), i.e. a voluntary transformation into an android that nonetheless does not encounter problems associated with its artificial "soul" because it basically knows from the beginning who is "king of its castle". I can imagine his disappointment when he eventually had to realize that transhumanity, on the contrary, occurs through the voluntary projection of his consciousness onto commercial network platforms, whose holders are, in the end, those same old, untouchable elites.
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Absolutely badass intro with a fantastic, thematically perfectly matched soundtrack. What follows the opening credits is a display of totally professional worksmanship, which is really without formal flaws. Fincher can be confidently placed in the very top tier of directors, regardless of genre, continent, target audience, or similar benchmarks. I will preface this by saying that I have read the entire Millennium trilogy and seen the full Swedish film rendering. This is useful in comparing some aspects, by which I also want to show why Fincher is better in some ways and why he falls short in others (but only in very few). The Larsson source material is unparalleled, and that is not merely by far because it served as the template for the Swedish and now the American adaptation. The first book in the trilogy is extremely rich, readable, gripping, and far from being a mere whodunit – it asks a lot of philosophical questions and forces you to take a stand (perhaps a moral one). Although a more thorough probe into Lisbeth's soul and life doesn't actually occur until the second volume, the first book already outlines the brief foundations of her personality, which naturally develops in content over the next two volumes. This is what I found lacking in both the Swedish version and Fincher's take: a larger and more elaborate psychology of the two main characters. Of course, the resulting films should be judged as something created by the necessary trimming of the source material, so that viewers unfamiliar with Larsson's books wouldn't stare at their watches every half hour (absorbing even 90% of what happens in the book would make the film a minimum of 4 hours), but then you also have to take into account the fact that the final film's message is completely different from Larsson's original idea. I could go on comparing, but it's actually pretty clear that the main character's profile won't be fully developed until the next two installments – and I'm extremely curious to see how Fincher handles that. As for the film itself, I can say that it has great pacing (again, thanks to the snappy dialogue and very dynamic editing), definitely better casting than the Swedish version, a brilliantly icy soundtrack, and charmingly composed flashbacks. Had Fincher delved more into the main character and made Rooney Mara act more emotionally in some passages (at least after the rape scene), his adaptation could have taken on a completely different edge. Not to mention the basement finale, which, although it has the uncontestably superbly nasty Skarsgård, is somehow bland and flavorless and actually almost gives the impression that Fincher was in a hurry to get somewhere, just to be done with it. Still, a work like this has to be judged separately from the usual Hollywood productions (even the very good ones), because the way it's shot and the way Fincher presents himself as a director is exceptional. Still, we can mention this as a weak moment in his work, which I hope he will remedy very soon – the final installment in the trilogy in particular could become an unbelievable hit under his direction.
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