One approaches franchise books and films gingerly: ‘massively popular’ often indeed means ‘crap’. But instant franchise books can signal an artistic creation that has seized the public imagination because it is brilliant, at least in some aspects. Take Harry Potter – it succeeds because it deserves to. Stieg Larsson’s Millennium series is another example. The Girl With the Dragon Tattoo spread globally like a super virus, readers engulfed by its potent combination of intricate, raw plots and intensely individualistic characters observed in minute detail. (Here I’m indebted to perceptive analysis by Laura Miller.)
I read the second in the series, The Girl who Played with Fire for a book group, and enjoyed the experience without falling in love with the series. Too many endless details, I sniffed. But now I’ve seen the film of the first, The Girl With the Dragon Tattoo, and I wonder if I was mistaken. For the movie is a humdinger. Casting is a primary strength – Noomi Rapace is perfect as the emotionally fragile but unstoppable super hacker, Lisbeth Salander, and Michael Nyqvist steals every scene as the dogged investigator Mikael Blomkvist. By necessity the film version truncates the exhaustive plot of the book but under the direction of Niels Arden Oplev, it maintains a kinetic pace while constantly revealing the characters. The lovingly shot Swedish countryside and cities, plus the exotic (to my ears) Swedish language, convey Larsson’s fascinating Swedishness. Not peppered with violence like most modern thriller, the film nonetheless is graphically raw when it depicts one of Larsson’s major themes, that of male violence toward women. All of this intoxicating package unfurls at the best movies do – two and a half hours vanished from my life.
It is now clear to me that Larsson does indeed weave modern storytelling magic, and the film version of The Girl With the Dragon Tattoo captures that magic triumphantly. 4 stars.