- Format: NTSC
- Region: All RegionsAll Regions
- Aspect Ratio: 1.78:1
- Number of discs: 1
- MPAA Rating:
- Studio: Alliance Films
- Release Date: April 12 2010
- Average Customer Review: 3 customer reviews
- ASIN: B00386OWWK
- Amazon Bestsellers Rank: #78,351 in Movies & TV Shows (See Top 100 in Movies & TV Shows)
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La fille qui rêvait d''un bidon d''essence et d''une allumette Tandis que Lisbeth Salander coule des journées supposées tranquilles aux Caraïbes, Mikael Blomkvist, réhabilité, victorieux, est prêt à lancer un numéro spécial de Millénium sur un thème brûlant pour des gens haut placés : une sombre histoire de prostituées exportées des pays de l''Est. Mikael aimerait surtout revoir Lisbeth. Il la retrouve sur son chemin, mais pas vraiment comme prévu : un soir, dans une rue de Stockholm, il la voit échapper de peu à une agression manifestement très planifiée.Enquêter sur des sujets qui fâchent mafieux et politiciens n''est pas ce qu''on souhaite à de jeunes journalistes amoureux de la vie. Deux meurtres se succèdent, les victimes enquêtaient pour Millénium. Pire que tout, la police et les médias vont bientôt traquer Lisbeth, coupable toute désignée et qu''on a vite fait de qualifier de tueuse en série au passé psychologique lourdement chargé. Mais qui était cette gamine attachée sur un lit, exposée aux caprices d''un maniaque et qui survivait en rêvant d''un bidon d''essence et d''une allumette ? * EN PRIMEUR: les premières images du troisième et dernier volet de la trilogie à la toute fin du film... Restez assis à vos sièges! *
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However, I'm not blind to the fact that the cinematic adaptation of the second book falls short of the standard set by the first movie. Perhaps the change in directors had something to do with that. Though the three films were filmed back-to-back-to-back, Denmark's Niels Arden Oplev helmed the first installment, while Swede Daniel Alfredson took over for Parts II and III. Oplev's 'Dragon Tattoo' crackles with suspense, makes great use of technology (love how Mikael pieces together the parade photographs) and portrays the sadistic violence perpetrated against Lisbeth in no-holds-barred, nothing-left-to-the-imagination fashion. And when Lisbeth gets her stunning revenge against her erstwhile guardian, Nils Bjurman, Oplev stages his single best scene. Watch the veins pop out of Rapace's neck as she (how to say this?) turns the table on her sodomizer.
Maybe Alfredson has less to work with: Book II has a slightly transitory feel to get to us to the third installment, and Lisbeth's 'crawling out of the grave' thing is a bit over the top. But the movie feels listless compared to thrill ride of Oplev's finished product. Alfredson's movie is a bit over two hours. Oplev's was over two-and-a-half (the domestic Swedish release, in fact, clocked a full three hours). I would have liked an extra 30+ minutes to take more time on any of Larsson's famous deep dives. One thought would be to play up the misguided police manhunt railroading Lisbeth and prejudging her as member of a lesbian sadist cult. This police malfeasance foreshadows "Hornet's Nest." Instead, we get rat-a-tat-tat: murder; Lisbeth fingered (literally); Lisbeth sought; Lisbeth goes underground; Lisbeth tries to clear her name.
I do like that we got more of Lena Endre here. Her Erika Berger was shortchanged in Oplev's take, and she steps a bit more to the front here. And for the first time, we see that Erika and Mikael have a personal as well as work relationship. I felt like Oplev neutered his Mikael, winnowing his relationships down only to Lisbeth in the film while in Larsson's tale he juggles three. Alfredson makes the relationship clearer. It's important because Erika plays a major part of Book III.
But the plot and themes are what really make it. At the beginning, she is sitting pretty and set up for life. However, as the situation evolves, levels get peeled away from her character, whose past comes back to haunt her big time. Not only is she framed and put in jeopardy, but she feels compelled to intervene directly in a way she cannot refuse. It ends in uncertainty, with the ultimate sequel to resolve it. In that one, it all comes together.
Warmly recommended. As with the first one, it is superior to the American production, where the actors are too good looking and there are fewer ambiguities in the plot line, rendering it less subtle.