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When roused, Lisbeth Salander Noomi Rapacethe sullen, leather-clad, metal-pierced heroine of The Girl With the Dragon Tattoois as ferocious as the panther her physical presence evokes. Well, you may conclude, he had it coming. This concerns a financial journalist, Mikael Blomkvist Michael Nyqvistwho at the outset is sentenced to a short prison sentence six months hence after losing a libel case against a corrupt multinational. Nazism is one of the skeletons he finds rattling around in the family closets.
Their affair robs the movie of a more subtle father-daughter relationship, especially since we learn that the psychologically damaged Lisbeth torched her abusive dad when she was. The films are based on the posthumously published, best-selling Millennium trilogy by Stieg Larssonhimself a Blomqvist-like journalist who fought extreme right-wing and Nazi organizations.
He conceived Lisbeth as a grown-up version of Pippi Longstocking, the morally righteous nine-year-old Swedish adventuress. In The Girl With the Dragon Tattooblown-up photographs of the niece spooked by someone looking at her in a crowd on the day she disappeared eventually put Blomkvist and Lisbeth on the trail of a bi-generational worth of serial killings of women all over Sweden.
Abhorrence of violence against women is a major tenet of the Millennium books, but the first movie in the series - known as Men Who Hate Women in Sweden - is scarcely a feminist tract. The Danish director of Portland and We Shall OvercomeOplev makes expressive use of dissolves and a wintry palette with many shades of gray. The film is drained not only of colour, however, but tension too, which can make its two and a half hours seem protracted.
View newsletters. Search form Search. Explore topics Film Reviews Sweden crime feminism journalism literature. Speaking as a woman, I want this kind of violence to be explored in the media. Sadistic murders of women happen every.
That is what Larsson is getting at with his statistics relating the frequency of violence towards women at the start of every section of this book. Why should the film shy away from depicting the main outrages in the novel? Why should the moral indignation of the audience not be stirred in the same way? If you take away that you take away the entire point of Larsson's endeavours. Maybe the novel as form will always triumph over cinema in being able to recount violence without coming across as gratuitous to critics of gentile disposition.
I still cannot help but find it ridiculous that in enormous violence and suffering occurs in the lives of ordinary people all the time but there is still such blatant misapprehension of its purpose in fiction.
We need to witness the barbarities of human behaviour in order to expunge them.
I highly doubt given Lisbeth's unforgiving psychology that she is looking for a father figure in Blomkvist when she already had one in Palgrem, and the main father-daughter parallel in the story is between him and Harriet. For the record, I didn't think the film was all that, but neither was your review.
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