The Girl With the Dragon Tattoo
Highly anticipated new film adaptation of the popular book by Stieg Larsson, “The Girl With the Dragon Tattoo” allows David Fincher to put even impress technically. The filmmaker, however sometimes difficult to completely meet this history dotted with white son.
A disgraced journalist (Daniel Craig) is hired by a wealthy man (Christopher Plummer) to shed light on the disappearance occurred decades ago. He is assisted by a rebellious young woman (Rooney Mara) who is not afraid to break the law to achieve her ends.
Successful novels have already a disappointing trilogy Scandinavian “Millennium” is back in the Hollywood version. Who better than David Fincher to adapt, who knows such thoroughly, having already given in the past the dazzling “Seven” and the excellent “Zodiac”? The father of “Fight Club” is in his element, by the amazing quality of its images, its assembly. After the stunning opening credits – his trademark – ends, the film starts on a flying, quickly reaching cruising speed. Despite a few laps, the pace is in suspense until the end. The staging of an assumed coldness favorably used snowy landscapes and scenery spaced to immure the characters in their solitude. The creator of “The Game” plays primarily with his music constantly, creating the perfect soundtrack to buy urgently. Picking up where their work ended in “The Social Network,” Trent Reznor and Atticus Ross lay organic melodies that fit together perfectly to the whole.
This refined aestheticism without being too lick allows the atmosphere and atmospheric icing blood. The filmmaker has understood how to film a subject which is not so much, using all its power to prevent boredom. Because despite a film script of quality of Steven Zaillian, history is the black point of the test. There are many inconsistencies and amenities. The characters remain barely sketched, and social and political themes are treated with little subtlety. Fincher knows very well, but he did not too dare question the raw, accommodating the best that it can by subtle sexy keys and humor, or simply recalling that illegality is sometimes the best way to get answers to his questions. This gives the final a conventional, but applied, result closer to further the exercise of style of “Panic Room” of the total control he had on “Zodiac”.
However, all is much more satisfactory than the Swedish feature film. The interest is generally constant, is a more high-quality and interpretation is superior. Christopher Plummer steals rare scenes where he appears on the screen, Daniel Craig brings his natural at this particularly smooth character phlegm and Rooney Mara does never regret Noomi Raptor. She has a magnetism that looks immediately arise on it. Its psychological nuances are in symbiosis with his physical game and outside of all technical considerations, it is his face is correct of the work.
After the triumphant success of “The Social Network”, David Fincher could afford anything. If it is surprising to see him land with little ambitious project that may give rise to two suites if success is to go, maybe he just wanted to clear his head with this production calibrated to his desire to staging. Only hope that the next film he will move in the least as a filmmaker.
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