The Girl with the Dragon Tattoo (2011) is a English,Swedish movie. David Fincher has directed this movie. Daniel Craig,Rooney Mara,Christopher Plummer,Stellan Skarsgård are the starring of this movie. It was released in 2011. The Girl with the Dragon Tattoo (2011) is considered one of the best Crime,Drama,Mystery,Thriller movie in India and around the world.
Mikael Blomkvist is a disgraced journalist who is asked by a wealthy industrialist to write a biography on his family. But what he really wants Blomkvist to do is to find out what happened to his niece, who went missing 40 years ago. Blomkvist, at first, is not interested, till the man offers to help him clear his name. Blomkvist, begins by talking to the man's relatives who were there when the girl went missing. And some of them are not forth coming. Blomkvist eventually believes that her disappearance might have something to do with some serial killings that took place 20 years before she disappeared. So he asks for a research assistant. So the industrialist's man suggests Lisbeth Salander, a talented hacker who does background checks for them and who even did one on Blomkvist. When he sees her report, he's impressed and asks her to work with him and she does. She's anti-social but is extremely efficient.
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After the announcement that The Girl with the Dragon Tattoo was getting an English-language film treatment, I decided that the hype had built up to a point where I just had to read the source material for myself. Though it is not without flaws, Dragon Tattoo is an excellent story with the important mission of raising awareness concerning violence against women. Mere days after finishing the book I watched the Swedish film. The hype train had me excited for an outstanding thriller. The hype train let me down. I was left cold and somewhat irritated by the Swedish adaptation. A ton of important plot elements were left out, some were inexplicably added (Blomkvist's memories of the island became far too important and contrived), and Rapace felt all wrong as Lisbeth. She was brilliant and violent, but lacked the quiet pensiveness of the original character. She did not come off as autistic and emotionally disturbed, just bratty and rude. Worst of all, I was constantly confused by the extremely rushed, strange new take on the story. As a lover of foreign films, I normally grind my teeth when I hear that America is developing a remake. However, I found myself desperate for this one. I needed a movie that actually gave me the experience of reading the book for the first time, that made me care for Lisbeth and that truly disturbed me. Thankfully, the American adaptation (not a remake) delivered exactly what I was looking for. Those who say this version is unnecessary or a rehash must have seen a very different Swedish Girl with the Dragon Tattoo than I saw. The American take is jam-packed with scenes that were either skimmed or completely left out of the Swedish version. Yet, despite being more robust, the English- language Dragon Tattoo is incredibly paced, feeling less rushed yet hitting all the important plot points. The characters have time to develop and grow on you, the clue-finding makes more sense, and the killer is more horrifying. Screenwriter Zaillian knows exactly what to leave out and what to change (though the ending, which mirrors the book's ending, could have been arranged better). Craig, Mara, and even Plummer are spot-on in their roles and feel more fleshed-out as characters. Mara, in particular, inhabits Larsson's Lisbeth in a way Rapace did not. She captures Lisbeth's silent, borderline-autistic nature perfectly. Her fragile body and alien appearance even match the book's description. She allows herself to be vulnerable, but clearly regrets it over time. It's a captivating performance. If someone were to ask me, personally, which version to see, I would have to say without hesitation that this is the rare occasion where the American adaptation is superior. I did not think it was possible to stay so true to the story under three hours.
Watching the original Swedish version of "The Girl with the Dragon Tattoo," I was actively engaged with its dual story lines, but I also found myself pondering which of the two was the more important. Now that David Fincher has made an English-language remake, I find myself pondering what went wrong. Here is a mystery thriller so cold, so distant, and so lacking in energy that it feels neither mysterious nor thrilling. It follows the plot of the original film fairly closely, and yet it makes a number of small changes that drastically affect its credibility. I'm also stumped by the curious decision to retain the Swedish setting. If you have gone to the trouble of casting English-speaking actors, it seems only fitting that you should change the story's location to somewhere more appropriate, say America or Britain. Adapted from the novel by Stieg Larsson, the title is a description of goth chick Lisbeth Salander (Rooney Mara), an emotionally walled-off computer hacker who works for a security company. In the original film, we got only scraps of her back story, and yet just enough was given to pique our interest. We were challenged to read her. Who was she? What had she gone through? What led up to a disturbing watershed moment seen only in flashback? In this remake, her back story doesn't even amount to crumbs. That watershed moment is altogether removed, as is a significant chunk of her family history. Because of this, we're no longer compelled to probe her mind, to try and understand why she is the way she is. All we see is a girl in her early twenties in serious need of an attitude adjustment. She was hired to investigate a former reporter turned magazine publisher named Mikael Blomkvist (Daniel Craig), who lost a libel case against a powerful billionaire. Although he must pay a serious amount in damages, he insists that he was set up. Lisbeth is inclined to agree; her investigative work turned up nothing incriminating. Not long after the trial, Mikael is hired by a man named Dirch Frode (Steven Berkoff) on behalf of his employer, Henrik Vanger (Christopher Plummer), the former CEO of a family industry. Now retired on a family-owned island off the mainland, he asks two things of Mikael: To write a memoir about the Vanger clan and to investigate the case of his great-niece, Harriet, who disappeared in 1966 when she was only a teenager. Henrik is convinced she was murdered, and that her killer is a member of his family, with whom he does not get along. Needing an assistant, Mikael is directed towards Lisbeth, who has just worked her way of a particularly nasty situation with her new guardian, a sadistic sexual pervert (Yorick van Wageningen) who kept strict control of her finances. As she and Mikael dig deeper into the mystery, they must make sense of a series of numbers Harriet wrote in a notebook, all of which are paired with initials. What do they mean? How do they connect to a series of murders spread across time and distance, all involving young women? And in what way does Henrik's family factor in? Watching the original film, I anxiously awaited the moment the mystery would be solved. That's because, as contrived as it was, there was at least the sense that the filmmakers were interested in their own material. The same cannot be said about this new film. There's no urgency about it. I think much of the blame rests on the updated screenplay by Steven Zaillian, which awkwardly intertwines dark and twisted scenarios with an undercurrent of dry wit. When Henrik first meets Mikael, for example, we find that the former is almost jovial not at all appropriate given his sad situation. Certain scenes from the original film were intense, and yet they always felt as if they were character driven. That's not the case here; most of the intense scenes, including when Lisbeth spontaneously decides to have sex with Mikael, are overproduced, as if the intention was to be sensational. The most glaring misfire is the inclusion of a stray cat. I don't need to spell out what happens to it. I will say, however, that this plot device is so overused that it has long since ceased to be symbolic. Now it's just cruel and disgusting. Little touches, such as Mikael's affair with his magazine coworker (Robin Wright) and his relationship with his religious teenage daughter (Josefin Asplund), contribute absolutely nothing to the story apart from a surplus of characters. And then there's the ending, which is really more of an epilogue as it involves events unrelated to the case of Harriet Vanger. In the original film, it was a brief couple of scenes that tied up a few loose ends. Here, it goes on much longer than it should. I'm usually the first to give remakes the benefit of the doubt. It's certainly not my style to make endless comparisons between old and new versions of the same story. But in the case of "The Girl with the Dragon Tattoo," I just can't help myself. I'll make this easy on you: See the original instead of the remake. Quite simply, the original is better. -- Chris Pandolfi
Here is a rundown of the differences in the two movies: -MIKAEL BLOMKVIST- American - Blomkvist is played as more of a tough guy and not a good guy. His flaws are laid bare and he shows himself to be much more detached than emotional. Swedish - This is the "good guy" side of Mikael. He is sensitive, caring, and smart. He shows a protective side when it comes to Lisbeth. Physically speaking the Swedish Blomkvist doesn't look as sturdy as his American counterpart. He has a gut and appears to be quite a bit older than Lisbeth which can make the relationship between them more shudder inducing and probably accounts for why there are fewer sex scenes between them in the Swedish version. -LISBETH SALANDER- American - Perhaps because Blomkvist was made into such a strong character Lisbeth was then morphed into a more withdrawn and vulnerable girl so as to complement the new Blomkvist. She still has attitude, aggression, and rage but she also exhibits a quiet shy side that was not in the original as well as more of a romantic side. Swedish - In this version Lisbeth is not shy, not gentle, and not nice. She doesn't chase Blomkvist - he chases her. She perfectly embodies everything you think of when you think of a strong female lead and has an unpredictability and edge to her that is exciting to watch. Her dragon tattoo is much, much better. -OVERALL- I liked the American Mikael and the Swedish Lisbeth. While I may prefer a scene or two from the Swedish version, such as the ending, overall I enjoyed the American version more. On the flip side, I can understand why some may hate this version because Lisbeth was their favorite character and she's been changed into something they don't like. For me, the modifications to Lisbeth's character weren't severe enough to put me off. The Swedish version captured a cult following for a reason and I would recommend both to anyone who has an interest in darker gritty movies that have a raw intensity to them. The Girl with the Dragon Tattoo isn't for the faint of heart and that's what I love about it!
The lights dim, the movie begins with a brief prologue, and the zany and incredibly weird opening credits begin, set to a creepy cover of Led Zeppelin's "Immigrant Song." From the beginning, we are in for a wild ride as Stieg Larsson's incredibly popular novel "The Girl with the Dragon Tattoo" is brought to life on screen. Scorned journalist Mikael Blomkvist is called upon by Henrik Vanger, a very wealthy man, while writing a book. Vanger is in search of an answer to the disappearance of his niece, Harriet, which occurred over 40 years ago. He assumes that Harriet is dead, and that she was murdered. He looks to Mikael to investigate her disappearance and who killed her. Then Mikael gets assistance from Lisbeth Salander, a dangerous but intelligent 24 year-old punk who is an accomplished computer hacker and a great contribution to the solving of other crimes. Together, Mikael and Lisbeth go on a dark, eerie journey into a world of crime, Nazism, and corruption that will lead them to Harriet's assassin. I walked into "The Girl with the Dragon Tattoo" with almost no knowledge of Larsson's novel or the Swedish film made a few years before David Fincher's version. The end result is ultimately an extremely satisfying, brutal, and complex thriller thanks to great direction by Fincher (known greatly for his work on "Seven," "The Game," and "The Social Network"), excellent writing, and an impeccably chosen cast. After only a few years, the character of Lisbeth Salander has become an attention-grabbing heroine that is as iconic as Edward Cullen of the love-it-or-hate-it "Twilight" series. And we can understand why. After all the truly awful and hideous things that have plagued her life, Lisbeth doesn't take any crap from anybody. She may be angry, violent, overtly sexual, demanding, and perhaps a little crazy, but she is a genius at what she does, and has reasons for all of her actions, no matter how gruesome they may be. The mystery surrounding the film is sophisticated and white-knuckling, adding to the intensity and mood of the story and its characters. We're not sure of who is Harriet's killer, or if Harriet is even dead, until the last half hour of the film, and when we do find out the twist, it leaves a stupendous impact. After cementing his reputation in brutal crime thrillers, and surprising us with "The Curious Case of Benjamin Button" and "The Social Network," David Fincher was the right man for the director's chair. Every film he makes, even a drama like "The Social Network," sets up a tone of genuine suspense, tension, and fear for the characters. "The Girl with the Dragon Tattoo" isn't any different as Fincher adds his signature touch to the movie. Of all of the people they could have chosen to play these roles, the casting director landed in a pot of gold. Daniel Craig does a wonderful job as Mikael, showing us that he can play characters other than James Bond. With the amount of screen time she has, Robin Wright is also very good as Blomkvist's business partner Erika Berger. Christopher Plummer and Stellan Skarsgård also turn in great performances as Henrik Vanger and Martin Vanger. The person to really watch out for, however, is Rooney Mara as Lisbeth Salander. Getting her big break in the underrated remake of "A Nightmare on Elm Street" and later starring in Fincher's previous film "The Social Network" (giving a dynamite performance in the opening scene), Mara has sealed her future with many more promising and exciting roles because of her portrayal of Lisbeth. This is not an easy role to play, knowing that Mara is the second person to play the character. She must endure two shocking rape scenes and a torture sequence, and there is a hefty amount of nudity involved. Mara embodies Lisbeth, immediately bringing immense intimidation, danger, and fury every time she comes on to the screen. Her eyes are wide and emotionless, almost as if you can see right through her. And with everything that has happened to the character, we understand that Lisbeth has a right to be that way. She may be smart, but she is not interested in attraction or friendships with another human being. Overall, Mara gives a sensational, fearless, dedicated, and electrifying performance that guarantees an Oscar nod. Being released during the cheery time of the holidays, "The Girl with the Dragon Tattoo" is not a feel-good film, by any means. It is a harsh, gritty, and rough cinema trip that answers the question of leaving the kids at home with the babysitter. Also, if you're squeamish, you will not like it. However, those who have read the book, and those who have not read it, should check it out. Even without having read Larsson's novel, I left the theater completely satisfied. It is a movie experience that you don't commonly get. Fincher has done it again. "The Girl with the Dragon Tattoo" is a must!
David Fincher's remake of TGWTDT has enough to keep the film steady on its feet, but lacks a horde of specific qualities from Oplev's excellent effort. Firstly, in a basic mystery story, there is a need to present a series of twists and discoveries that lead to solving the mystery. Fincher's film fails to present this trail of bread crumbs in the same enticing way that Oplev's did. Instead, we get a fast forward hyperspace logic jump when Blomkvist's daughter (out of nowhere) points out the vital clue that breaks the case, and then all related info is collected by Lisbeth in 5 minutes. Secondly, the following characters were shadows of themselves in the Fincher version: 1. Lisbeth Salander 2. Henrik Vanger 3. Martin Vanger 4. Bjurman The actors weren't horrible, but they were not as good as the ones in the Swedish version. Lastly, there were key omissions and changes which, for me, were completely inexplicable and confusing. 1. Lisbeth's past, father, etc. was one or two lines of dialog. 2. Harriet Vanger in London? 3. Vanger does not tell Blomkvist that he knew Harriet. It all adds up to a disappointing attempt to recreate the dark energy of Oplev's film. And the opening sequence was like a Tool video mixed with bad James Bond.