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The Girl with the Dragon Tattoo in review

The Girl with the Dragon Tattoo in review

A tenacious journalist and a troubled hacker partner up to solve a forty year old missing persons case.

Adapting an international bestselling novel after it has already been made into a very popular film series in Sweden typically is asking for jeers and groans from cinema connoisseurs. This is not the case with David Fincher’s rendition of Staig Larsson’s The Girl with the Dragon Tattoo, which proved to be an equal domestic counterpart, if not better than the original.

When Noomi Rapace declined the offer to reprise her role as the troubled hacker Lizbeth Salander, fans loudly voiced their concerns of who would pick up her torch, and expressed disappointment when Rooney Mara was selected. The question was whether or not Mara could pull off the small but intimidating persona of Lizbeth. But now, it’s apparent those worries were unwarranted: Rooney Mara does a damn fine job in her role, showing skill far beyond what was expected of her. To call her performance ‘Oscar worthy’ would not be hyperbole. Though it wasn’t as abundantly questioned who’d replace Michael Nyqvist as Mikael Blomkvist, it cannot go unspoken that Daniel Craig’s performance was as impressive as Mara’s. Craig and Mara shared the odd chemistry Nyqvist and Rapace had before.

One element of Fincher’s success with this remake was keeping the characters based in Europe, opposed to moving them to a major American city, like New York or Chicago. The story kept the crew primarily in Sweden and Switzerland, utilizing the natural beauty of the country and city scenes in their shots. Even though the background is often cold and bleak, there is something alluring to them. Fincher also made the tough decision of increasing the intensity of film, overall; driving the seriousness of certain situations down like a coffin nail.

Trent Reznor and Atticus Ross were enlisted once again to compose the score, following up their work on Fincher’s last film, The Social Network. The music shows a large growth for the duo; it sounds more like an actual score, and not just a b side electronica album.

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