Tuesday, December 27, 2011
The Girl with the Dragon Tattoo
No matter how good Rooney Mara is as Lisbeth, and she is good, she can’t escape the fact that Lisbeth is a brilliant fantasy object who can only express herself through sex and violence. Mara, like Noomi Rapace in the Swedish film, must play a brutal scene of Lisbeth’s victimization at the hands of a man. It’s a chilling moment for how much Mara commits to Lisbeth’s terror, and despite the intense violence it seems just when Lisbeth later responds in kind. The most surprising and disappointing thing then about Fincher’s Dragon Tattoo is how quickly it domesticates its title character. It turns out all Lisbeth needs is some good loving; look at how Blomkvist sets out plates when he comes to Lisbeth’s apartment for the first time, and then note how Lisbeth mirrors the behavior after their first night together,. Fincher and writer Steven Zaillian, with help from Mara, blow up something that I think was implicit in Larsson’s conception of this character. Men are pigs, but if Lisbeth has sex with the right man then she’ll be just fine. Remember how attracted Lisbeth seemed to the woman she brought home from a nightclub? Well by the end of the movie Lisbeth and Blomkvist are practically cuddling (while still working of course). The end of the film is, to my surprise, faithful to Larsson’s book. Rooney Mara gives Lisbeth her all, but the dualities Steig Larsson requires of this character are finally too much to bear. The Girl with the Dragon Tattoo is as well made as we’d expect from David Fincher, but is finally his most shallow film since The Game.