MAN SOM HATAR KVINNOR (THE GIRL WITH THE DRAGON TATTOO)

Sweden, 2009, 152 minutes, Colour.
Michael Nyqvist, Noomi Rapace, Lena Endre, Peter Haber, Sven- Bertil Taube.
Directed by Niels Arden Oplev.

For readers of crime fiction, Stieg Larsson's Milennium trilogy is a top series of novels, widely read, not only in Scandinavia, but also worldwide. The three novels have all been filmed. This is the first.

At two and a half hours, this is a long film that does not seem so long. It enables the adaptors of the novel to remain close and to develop strong characterisation and include many dramatic situations.

It is often observed that there is a certain darkness about Scandinavian storytelling – especially when it focuses on crime and family secrets (as is the case with the Wallander novels of Henning Mankell and the Swedish and British television series of his stories). Since the murder being investigated here is from 1966, the family extends back to the 1930s and Nazi sympathies right up to the present where the leading female character has piercings and nose rings. It takes in quite some perspectives of the 20th century.

Each of the three stories has as its centre the investigative journalist, Miachael Nyqvist (played effectively and in rather more of a lower-key style by Michael Blomkvist) and a young woman who has been in an institution who is an expert hacker, Lisbeth Salander (Noomi Rapace), who is taciturn but certainly not low-key). The film takes its time in setting up each of the characters – he being found guilty of libelling a wealthy industrialist as an arms dealer but asserting that he had been set up, she being hired by individuals and companies to do background checks and briefings, including on Michael Blomkvist. Then they come together at the request of an elderly patriarch of his family (Sven Bertil- Taube). Or, rather, he is hired and she hacks into his computer and they form a partnership.

The investigative research is presented in some detail, back into newspaper archives, studying and enlarging photos from the 60s, digging out business documents and receipts. Eventually, the mystery is unravelled, but it is a complex path of secrets and lies, vicious murders and sexual violence (rather graphically portrayed), religious and anti-Semitic feeling and a chilling climax to the investigations.

One of the satisfying aspects of the film is that the many strands are brought together or explained – no loose ends. In fact, the word that does describe this crime thriller is satisfying.

1.This film as the opening of a trilogy of films? The popularity of the novels? Adaptation for the screen?

2.The length of the film, retaining audience interest? The development of the plot, the range of characters, situations? Tying up of all loose ends?

3.The Swedish atmosphere, the cities, homes, the countryside? The grim atmosphere? The family, the companies, their secrets and lies? The musical score?

4.The title, the focus on Lisbeth, in herself, with Michael, her appearance, the enormous tattoo, the piercing, the rings? Her capacity for work, solving the mystery?

5.The introduction, Henrik and the receipt of the gifts, the flowers, hanging them on the wall, one for over forty years? The memories of Harriet? Thinking they came from her killer? His determination to have the mystery solved? The interview with Michael, the link with Harriet because of her caring for Michael when he was a boy? Wanting closure?

6.Michael, his working for the Millennium Magazine, the headlines, the trial, his critique of the businessman for being an arms dealer, the response of the media, the libel trial, the verdict against him, the businessman and his press conference, alleged vindication? The prison sentence? The staff meeting, the issue of making the appeal or not? The wariness of the staff, for the future of the magazine? His investigative abilities? His being set up? The invitation to meet Henrik? The explanations, his taking the job?

7.The introduction to Lisbeth, her appearance, her capacity for research, the agent wanting to know her reliability, her investigating Michael and vindicating his innocence? The interview, the editor, praising her ability, her answering questions, leaving the report to speak for itself, her abrupt manner? Taciturn, going to the parole officer, his asserting the rules, the sexual advance, the rape and its brutality, her pain? The irony that she had a video camera in her bag, having the record? The return, stripping him, tying him up, the dildo, his pain? Her setting down the rules, the blackmail for her freedom?

8.Michael and his inquiry, the use of photos and pictures? The computer research? The Vanger family, his knowing some of the women from the past and his childhood? Their past, information about the Nazi sympathies? The older brothers? Harold and his hunting? Gustav dead, Martin and his inheritance? The discussions with the women in the family, their strong-mindedness? Michael and the various meetings and discussions?

9.The photos, the last photo of Harriet, the enlargements, the use of technology, the speculation, Harriet at the procession, her change of focus, her fear, her disappearance?

10.Lisbeth and her hacking into Michael’s computer, meeting with him, her work and research, the codes on the computer, the dates, the victims, their initials? The quotations from the Book of Leviticus, the explanation of the sins, the punishment to be meted out? The finding of the various reports? That one of the victims was a secretary to Gustav? The dates not tying in? Going for the receipts and their dates? The photo of the group, Martin’s presence?

11.Michael, the photo, the carpentry company, going to visit the wife, her photo – and seeing Martin, indistinct, as the object of Harriet’s gaze?

12.The information about the two Anitas, one going to London, dead? The other going to Australia?

13.The hunter, the shooting at Michael? His anger, confronting Michael, Martin rescuing him?

14.The truth, Martin and the deadly influence of his father, their both being serial killers, the father and his anti-Semitic attitudes, the Book of Leviticus? Martin and his continuing the murders, instructed by his father, over the decades? The cellar, the evidence, the morbid photos? The talk with Michael, his delight in talking about his exploits? The glass of water, taunting Michael, talking about the moments of hope before death, setting him up for the hanging?

15.Lisbeth, getting the information, going by bike, having set up videos in Michael’s house, finding Martin in the video, hurrying, saving him, chasing Martin in the car, Martin’s crash, her not saving Martin, confronting him, the car going up in flames? The flashback, the memories of her father, abuse of her mother, her letting her father die?

16.The visit to her mother, talking with her, the mother’s recognition, her sympathy for her mother?

17.The relationship between Lisbeth and Michael? Her own sexual background, living with the other woman, the effect on Michael? Her leaving?

18.The visit to Australia, encountering Harriet, with the sheep in the Outback? Harriet’s return, visiting Henrik, the explanation of the gift of the flowers? The happy reconciliation?

19.The Cayman Islands, Lisbeth and her disguise, with the money?

20.Michael, in prison, his interviews with the press? Lisbeth sending further documents about the arms dealer, the further article, the attack, Michael’s vindication, the suicide of the arms dealer in Spain?

21.How well did the film work as personal drama, as a crime thriller, as an example of detection and investigative research?