THE GIRL WHO KICKED THE HORNETS’ NEST

Sweden, 2009, 147 minutes. Colour.
Noomi Rapace, Michael Nyqvist, Lena Endre, Annika Hallin, Anders Ahlbom, Micke Spreitz.
Directed by Daniel Alfredson.

The main reason, of course, for seeing this third film in the Milennium trilogy based on the novels by Stieg Larsson, is to find out what happens to Lisbeth Salander and whether her persecutors get their comeuppance. This is what happens.

Many readers of the novels (and there are more than many) have expressed dissatisfaction with the film versions of Larsson’s novels. From the point of a view of a non-reader, the first film was arresting and interesting, not only for the intriguing character of Lisbeth Salander and the investigations of Mickael Bolmqvist which lead to a strong drama about neo-Nazis and sexual aberrance.

The second film was rather more straightforward, interesting again, but focusing more on Lisbeth and the confrontation with her father.

This third film recapitulates some of the preceding events during the credits and throughout the film furnishes further information for those whose memories are not quite as clear as they would liked. So, we see Lisbeth in prison for the assault on her father and preparing with a sympathetic lawyer and the continued work of Mickael Bolmqvist and the Milennium staff. The shadowy group which protected Lisbeth’s father and his later criminal kingdom emerges more clearly, especially with their attempts to thwart the case and justice and threaten Milennium.

But, there is some sympathy this time for the critics. The film does not seem to be particularly cinematic, except, perhaps, for the final 15 minutes or so. It is very much a film of close-ups and talking heads, in hospital, at the Milennium offices and in the court room. The director, Daniel Alfredson, was the director of the television series. Hornet’s Nest might be more exciting and gripping on the small screen with the focus on persons which seems somewhat flat on the big screen.

This brings the trilogy to a thematically and dramatically satisfying close but, thinking back to the Dragon Tattoo and the different director, this might have been more adventurous and challenging.

1. The television style of the film? Close-ups, editing, conversations? The final action?

2. Stockholm, the city and the views, courts, prisons, homes, the offices of Millennium? The countryside? The factories? The musical score?

3. The title, the tone? The focus on Lisbeth?

4. The continuity with the previous films, the opening credits? The conclusion of the narrative, the drawing together of the themes and issues?

5. The opening credits, the continuity with the past, the end of the previous film? Lisbeth, her father’s attack and her response? Niedermann and his threats?

6. The situation of her arrest, the injuries to her father, both of them in hospital, her being transferred to prison? Her being conscious, the interrogations, her refusing to answer? The importance of her documents, her autobiography, the film of the attack by her guardian? Her relationship with her lawyer, the support?

7. Millennium, influential magazine, the staff, the research, the publication, its effect? Mikael and his research, from the previous films? His supplying information? At the office, the dangers, the documents, whether to print the magazine or not, the threats, the attack in the restaurant? Erika and the other members of the staff? The threats, the determination? Mikael and his going against Erika? Erika and the attack at her home, the consultations, the relationship with Mikael? The others and their fear of being killed, going home? The bricks, the guns and the restaurant? The planting of the drugs and cash in Mikael’s home?

8. Mikael and his decision to publish, Erika and her initial reaction?

9. The lawyer, the preparation for the case, Mikael and the supplying of information, at the court, the interrogations? The prosecution? The further documents, Plague and his ability to access the computers, the film of the rape of Lisbeth and its being screened, the reaction of the court? The memory stick and the records of the doctor’s pornography file?

10. The Section, the personnel, their conferring, the role of Clinton, the decision to kill Lisbeth’s father, in the hospital, the attempt on Lisbeth’s life, blocking the door? The various setups, the police and their following, surveillance? The member setting up the snipers, the attack in the restaurant, the quick thinking of the police, Clinton and his dialysis, his orders and his henchmen? The background of the Section, protecting Lisbeth’s father, his defection from the Soviet Union, his illicit drug-running and gun-running empire?

11. Doctor Teleborian and his reports, the contact with Lisbeth in the past, interning her, his interrogations and her refusal to answer? The report written before the trial and the interview? His behaviour in court? Going to his room, the computer, the pornography? The links with the Section? The exposure, his behaviour in the court, his arrest?

12. The concerted effort and the rounding up all the suspects, the arrests? Including Clinton?

13. Niedermann, in the background, his killing innocent bystanders, in the factory, Lisbeth and her going to the factory, his reappearance, the attack? Lisbeth escaping, phoning the police, calling the bikies, watching the fight? Everyone arrested?

14. The information about the Section, the reaction of the prosecutor, the political expose?

15. The resolution, the court, Lisbeth and her inheritance? Her inability to thank Mikael and her lawyer? Eventually doing so? Going to the factory, the confrontation with Niedermann? Her going home – and a peaceful future?