The New York Times describe Lisbeth Salander, thus:
“Tiny as a sparrow, fierce as an eagle, she is one of the great Scandinavian avengers of our time, an angry bird catapulting into the fortresses of power and wiping smiles off the faces of smug, predatory pigs.”
The Hollywood version of The Girl With The Dragon Tattoo, directed by David Fincher, is a dark, haunting story of female abuse in a patriarchal society. Rooney Mara deserves the Best Actress nomination at this year’s Academy Awards. She exudes punk and kick-ass attitude the way she is described in the book where it was based, but at the same time, shows vulnerability especially in the way she speak and act (she craves for sex, for example).
Like in any David Fincher film, the cinematography sets the mood and tone of the whole film. We are in Sweden. We are in a cold, below zero temperature place. It always snow. It’s cold. Which juxtapose with what is generally, the central theme of the film, to solve a cold case of missing person inside a famous, influential Vanger family. Well acted, I cannot find a fault from this adaptation. Though purists (those who read the book) would complain about one major change at the end of the movie where the missing girl is found not in an Australian outback, still the whole picture provides a dark toned, convincing film about the (mis)adventure of a heroine in the midst of chauvinist pigs.
By the way, I like this version more than the Swedish. Just saying.