The Girl with the Dragon Tattoo: Part 2, Fincher Version

As far as I was concerned, my ticket to David Fincher's The Girl With the Dragon Tattoo was paid for as soon as the opening credits rolled. After an awkward cold open in which two old men share one line of dialog, Trent Reznor and Karen O’s cover of Led Zeppelin’s Immigrant Song breaks the quiet mood. While Karen screams about those Scandinavians “from the land of ice and snow,” silvery images of breaking faces, bleeding technology, unfurling flowers, fire, and who knows what else rip across the screen.

Based on the first book in the Swedish Stieg Larsson’s trilogy, The Girl with the Dragon Tattoo follows journalist Mikael Blomkvist (Daniel Craig) and computer hacker Lisbeth Salander (Rooney Mara). Henrik Vanger (Christopher Plummer), the former head of the grand Vanger enterprises, lures Blomkvist to a small town on an island in order to solve the mystery of his long lost niece. Because she disappeared during a family reunion, at a time when an accident blocked off access to the island, Vanger is convinced a relative murdered her. Meanwhile, the audience also follows Salander, a punkish young woman who is under the care of the state for violent behavior. We witness her abuse, her ruthless, methodical reaction to said abuse, and her genius with a computer.

The film manages to overcome one of my biggest pet peeves: characters in a foreign country speak English with a foreign accent. (Why bother? They’re supposed to be speaking another language anyway. The whole world doesn’t revolve around English.) The mostly British and American cast tend to speak with a slight Swedish lilt. Another problem with the movie is a certain violent scene which lingers on the perpetrator’s sadism, seemingly in order to justify retaliation.

Reznor and Atticus Ross’s ambient soundtrack is sometimes self-conscious, as are the sharp editing and Jeff Cronenweth’s striking cinematography. However, this approach works: it infuses the film with suspense, conveys the book’s intensity, and turns moments which could have been difficult to translate from the page into resonant scenes.

Steven Zaillian’s script has been very well edited, weaving subtle themes about greed, victimization, and xenophobia. In general, the few changes from the book clarify the plot. The screenplay is a surprisingly successful balance of character development, dramatic tension, and satisfying solutions.

Most of the characterizations are intriguing and true to their source. Craig’s believable and sympathetic Blomkvist might be an improvement on the original. Mara depicts the wildly popular Salander’s mixture of detachment, calculation, viciousness, and vulnerability. Plummer’s friendly but cunning Vanger is especially close to Larsson’s description. Other Vanger relatives are played by Stellen Skarsgaard (excellent as Henrik’s amiable nephew), an appropriately cold Geraldine James, and a sensitive Joely Richardson.

Niels Arden Oplev’s 2009 Swedish adaptation of the same novel had the disadvantage of a shorter length (it was cut down from a miniseries) and a smaller budget (I assume). The two stars Michael Nyqvist and Noomi Rapace were fantastic, but the series lacked imagination. Overall Fincher’s version better captures the feel of the book, and in some cases even improves upon it. I would love to see the sequels to this beautifully shot, gripping adaptation.

Images from http://blackboxblue.wordpress.com/2011/06/04/the-girl-with-the-dragon-tattoo-2011-first-look/.

The Social Network

The Social Network is a classical tale of power and revenge. It begins in 2003 at Harvard, where undergraduate Mark Zuckerberg invents the vast social networking website Facebook. Director David Fincher (Fight Club, Se7en) intersperses Mark’s upward trajectory with scenes from two lawsuits against him, one from his friend and co-founder Eduardo Saverin and one from classmates Cameron and Tyler Winklevoss.

Aaron Sorkin, also a playwright, adapted this outstanding script from Ben Mezrich’s mostly true book The Accidental Billionares. Language is as central to this film as it is to any play. Conversations are the equivalent of car chases. In spite of its cleverness, the dialogue remains remarkably natural.

The fast talk is aided by snappy editing and pumping music, which sometimes turns as ominous as the darkly lit Harvard campus. Even glamorized scenes of elite parties are shot in somber tones. Further visual ingenuity is evinced in one scene in which the camera makes the world of a rowing race look like a perfect toyland. This athletic struggle mimics the characters’ overarching business battles.

Impeccably cast, The Social Network is also a fascinating character study. Played by Jesse Eisenberg, Mark’s intelligence and drive dominate the story. So brilliant he occasionally comes across as an evil genius, Mark is lonely, self-centered, and contemptuous. (His outfits consist of hoodies and sandals.) This protagonist’s tragic flaws allow him everything but friendship.

The film is tilted towards Mark’s former friend Eduardo (Andrew Garfield). While his decency and victimization are overemphasized, the character is quite believable and certainly sympathetic.

Also interesting are the amusing Winklevoss twins, played by Armie Hammer (thanks to incredible special effects). Tall and gorgeous, these Olympic class rowers resemble Olympians. They may be entitled, but their plight is understandable.

Even Sean Parker (Justin Timberlake), the creator of Napster and the man who seduces Mark into a larger life, comes across as more pathetic than villainous. Sean has surface charm and appreciates Facebook’s potential, but he is at best unreliable and sophomoric.

Smaller parts are likewise well acted, including Mark’s level headed and thus brief girlfriend (Rooney Mara) and the twins’ furious friend Divya Narendra (Max Minghella). The only misstep is Rashida Jones as a (gorgeous) lawyer who is bizarrely compassionate to Mark, in an apparent attempt to make him more likable.

Certain aspects of the story are sexed up and simplified. Only the exclusive side of Harvard is explored. Most disturbing is that the characters on which The Social Network is based are still alive. Though mixing fact and fiction can be dubious, the creators of the film performed extensive research and invited everyone to give their input. Understandably, Mark Zuckerberg declined to participate.

Fast paced, hilarious, and parabolic, The Social Network will ensnare many into its world of competition and self-destruction. It is an excellent portrayal of Internet and youth culture in all its innovation, imagination, selfishness, and insolence. Amongst questions of class and control, we watch Mark and others chase after a sense of happiness that is ultimately hollow.