Dziewczyna z tatuażem

To make an accurate comparison of both the European and North American versions would mean watching both films at once or shortly after each other. I saw the initial adaptation almost two years ago, so I dare not make a categorical conclusion. Nevertheless, the comparison of both versions and their quality is the most interesting aspect of the whole matter. There is a significant difference between European and American blockbuster films. With the overseas version, it is evident that we are operating in a completely different budget category, so the opening credits nail you to your seats with an audiovisual onslaught when you see the impressive transformations of the main characters' bodies in a sea of liquid latex. You appreciate the top-notch camera work and excellent music accompaniment. Whether it was in exteriors or interiors, no expense was spared. The main male role was, presumably, taken on by one of the highest-paid actors of today, who filled the gap between shooting Bond movies. The whole film was overseen by one of the most acclaimed directors of the past two decades. Instead of unknown European actors, you see internationally known faces of Hollywood stars. A film has been created that will likely have an impact on the Oscars and will successfully be distributed worldwide. There are no significant differences in the plot between the American and European versions; both films try to faithfully bring the book version to the screen within the possibilities of their respective runtimes. The American version is perhaps somewhat more commercial; it aims for a universal appeal to audiences from different cultures and countries, so it doesn't allow the viewer to dwell too much on the unspoken - it is more literal. In some places, that is to the detriment of the story. I would certainly not reduce the relationship between Blomkvist and Lisbeth to a purely sexual level, quite the opposite. Even with the generous runtime, it is surprising how little the film delves into the psychology of individual actors, showing their motivation, the demons that lead to a series of crimes, and the moves of the individual adversaries. As I mentioned before, the American version is more ambitious, and likely better made, as there is a difference between Fincher and Oplev, but when I think about it, Oplev's version is more likable to me after all. Let's not beat around the bush, the "Millennium Trilogy" became a hit not because of the character of the investigative journalist - there are dozens of those in books - but because of the edgy punk girl with somewhat sociopathic behavior and exceptional hacking skills. And here, in my eyes, Noomi Rapace clearly leads the way. She has a peculiar charisma, she is unfamiliar, so one can easily identify with her as Lisbeth and root for her. Rooney Mara is a capable actress, but the chemistry between her and me as a viewer simply did not work as it should have. She even seemed a bit unsympathetic to me, which made it hard to root for her. I can think of a few other names that I would have preferred to see in that role. In any case, this film is definitely worth a trip to the movie theater, if only for its excellent soundtrack and professional execution. Only a few blockbusters maintain a level that doesn't offend film connoisseurs, but I have to say that, emotionally, the American version somehow missed the mark for me. I don't need to see this film again. Overall impression: 75%. (17.01.2012) (mniej) (więcej)