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She walks around the house. She sits there. She lights a cigarette, and then she explodes. And she doesn’t know what’s going on in her head. Next time you see her, she gets to say David Fincher, who directed The Girl with the Dragon Tattoo which Long-awaited: “Taser. And a 30-pound chrome prosthesis, and she has a plan.” “You don’t need her to say, ‘What happened to me is wrong, and I have to correct it. You see her at the hardware store, she buys ribbons and zippers and black ink.’”
The Gril With The Dragon Tatoo
From the opening credits — the elegant but dark montage of bodies that come together only to separate, melt, or explode — to the grim final scene, this is a film about intimacy and control that reflects the dark but central theme of Stieg Larsson’s novel. : A meeting of two people is always a power struggle. In this universe, most men are monsters. But even those who do no harm, through no thought or carelessness.
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Before the film begins, which begins on December 20, Henrik Wanger (Christopher Plummer), patriarch of the dysfunctional Wanger dynasty, enlists investigative reporter Mikael Blomqvist (Daniel Craig) to solve the mysterious disappearance of Wanger’s niece from an isolated island in northern Sweden for decades. Ago. Before long, Blomkvist shares the investigation and his bed with Salander (Rooney Mara), a young computer hacker with a shady past.
While the film is visually elegant in Fincher’s hands—and with a screenplay by Stephen Zellian, who specializes in literary adaptations and won an Academy Award for Schindler’s List—the film captures the book’s messy plot points: ritual murders, Nazi old age, sexual assault, and incest. . Rather than downplaying the book’s most famous scene — anal rape followed by shocking but satisfying revenge — Fincher bolstered it. Rated well deserved.
Says Fincher, who spent months with Mara and Craig living in Sweden during the film’s production.
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When I met the three of them together at London’s Dorchester Hotel recently, their families’ banter and tendency to end their thoughts suggest a whiff of Stockholm Syndrome.
“A lot of the decision to get things out of successful books has to do with some degree of discomfort,” Fincher says. “Are we going to make the public uncomfortable?” But there is no way to extract things from the book that would make the audience uncomfortable…”
And follow it up. Worldwide, the novel has sold over 65 million copies, making it one of the most popular books of all time. (It sold 18 million copies in the US alone, and last month Vintage Books shipped more than 1.3 million copies in anticipation of the movie.)
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But Salander is not an action hero in skin-tight clothing. She is an outcast who makes the world fit her will – in the novel Bloomqvist wonders if she has Asperger’s.
As a director, Fincher is a confident historian of life outside the norm. Let’s take for example one of his first films,
In person, he’s cute and funny, and he dominates the conversation but pushes Mara to speak up when she’s shut up. after working with her
Become The Girl With The Dragon Tattoo
, in which she appeared briefly but memorably as the girlfriend of Mark Zuckerberg, it was Fincher who insisted on choosing an unknown actress.
For the role of Salander, Mara bleached her eyebrows, cut her hair short and asymmetrically, and pierced her eyebrows, ears, and nipples. Sitting in the corner of the sofa late this afternoon in London, Mara appears to be 26 years younger, perhaps because of her deference to Fincher, whom she tried in vain to hide.
“I think feminists might see it that way,” she says. “I don’t know what Larson’s intentions are. But I don’t think Salander is doing anything on behalf of any group, cause, or belief. She’s definitely not a feminist. She’s like . . . that’s just . . . roughly . . . .”
Collection] Millennium Collection (the Girl With The Dragon Tattoo) Original Trilogy And American Adaptions [tpdb]
, written by the deceased Swedish journalist Larsson, sometimes sounds like a feminist treatise. Take, for example, the original title in Swedish –
– Or this statistic at the beginning of the book: “18% of women in Sweden have ever threatened a man.
Larsson’s longtime partner, Eva Gabrielson, said he called her a feminist. And last year, Larson’s close friend Cordo Baxi wrote a memoir suggesting that the author’s preoccupation with violence against women stemmed from guilt, after he witnessed three teenage friends rape a girl.
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Although the girl’s name was Lisbeth, like Larson’s heroine, Fincher appears unconvinced of the literary agent’s motives for redemption or revenge.
Perhaps this whole thing stems from the rape he saw.” But it is also possible that, as a man who studies fascism in all its political and financial ramifications, he said, “You know, people must be so crazy, they shouldn’t put up with it anymore.”
A committed communist in his youth, Larson offers a scathing critique of speculative capitalism, a view that is less disgusting today than it seemed – even in Sweden – when the novel was published in 2005. Although Fincher has a few surprises for book lovers, he is fairly loyal Great for the novel, as he spends much of his time wanting Blomqvist for justice after his public humiliation at the hands of businessman Hans-Erik Weinström, stand up to evil capitalists everywhere.
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In other words, this is a movie about revenge as an idea – it’s not about a single woman avenger. However, Blomqvist is not the one who fights the bad guys or leads the action – Salander is.
“She does everything he can,” Craig says. “And I think that this dynamic is what made the book so successful — whether Stieg Larson wrote about himself; about his idealistic relationship with someone he would like to save, or whether he really wanted to be saved.
“It’s Baby Longstocking,” Mara says, referring to Astrid Lindgren’s Swedish children’s book, which stars a girl growing up alone in a big house with a horse and a monkey, the envy of every child he’s ever read.
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Like Pippi, Salander makes her own rules. She is the state guard, but she behaves antisocially. Even when it’s not bluntly written on her shirt, her tattered clothes, heavy shoes, and multiple eyelets carry a clear message: Stay away.
“The intimacy she has in her life — she chooses her terms,” Fincher says. “In the end, she left saying, ‘You idiot. Why would you allow yourself to be a conventional miser…”
“It’s a hit,” Craig says. “It’s an open story and it leaves Salander in a much stronger position. It’s, ‘Okay, okay spoil it, I’m moving on.” “
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For better or worse, Salander could become the defining role of Mara, who already had to deal with the huge expectations that come with the film. (Casting has been compared with
– Something you ignore. “It’s ridiculous,” she says.) Then there are the inevitable comparisons to Nomi Rapas, who played Salander in the 2009 Scandinavian film version of the book.
“I saw that performance, but I saw it months before we auditioned for our movie,” Mara says a little defensively. “When I read the books, I didn’t look at that play…. .I had my own idea of who it was in my head. I think the plays are completely different.”
The Girl With The Dragon Tattoo By Larsson Stieg
“That was definitely one of my goals,” she says. “She has been described as a homeless woman with anorexia.” At the same time, she has such superhuman strength. Looks very difficult. But it is very weak. She’s a hack genius and wise beyond her years, but emotionally stunted at 12 and naive in many ways. It is full of all these contradictions. And we never wanted to make her just that angry and violent person.”
“The question I asked myself was, Is there a place?” Is there another way to do this? Will we follow in someone else’s footsteps? And I think — at the end of the day — as to who I saw these people, there was plenty of room,” Fincher says, quickly adding, “It doesn’t take anything away from what came before. “
In the end, he thinks we love Salander because of her perseverance. “It’s not about being able to lift huge amounts of weight. It’s invincible because you know she’ll find a way.”
The Girl With The Dragon Tattoo
Fincher, for his part, is a notorious shooter of perfection, someone who reshoots scenes over and over, talks candidly about doing his best as a director, and walks around after Craig’s departure to illustrate the point.
“You’re spending $250,000 every day,” he says.
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