a cross between a guardian angel and an angel of death

Rating: 8/10 (28 January 2012)

although i agree to some extent with the generally accepted critique of the final act and that of the source material, i found myself completely engaged and involved. the vision of Stieg Larsson's work through the eyes of David Fincher marks the return of his dirty minded leanings under the guise of beautiful, pale images and ominous atmosphere. accompanied by a rather inhospitable decoration to the environment, everything that takes place on the island is of precise darkness/coldness (literally translated in the lack of a heating instrument in Mikael's residence). The film is largely built around contrasts: Mikael/Lisbeth, Stockholm/Island, present/past, youth/wisdom.. there's also the supposed similarities between Harriet's past of abuse and trauma and that of Lisbeth, helping to expand on the story of the investigation and giving hinted insight into Lisbeth (a fascinating character). the film adopts a consistent parallel narrative between Mikael and Lisbeth, that is a great model of precision and tempo; This is to delimit two distinct sides that are continuing to attract before joining in and creating a second parallel story that will maintain the narrative to the end (using a technique of voice-overs spilling into scenes that follow).
there's a lot to say and admire in Fincher's assured and matured technique and plot devices. same goes for the performances, especially Rooney Mara. The Girl with the Dragon Tattoo captures something essential in its too main characters, and ultimately makes Lisbeth a compelling cross between a guardian angel and an angel of death; humanized.