The big critics prizes (Los Angeles and New York) have come and gone but more cities are following suit declaring their bests. Now, by the magic of the expandable post, we can share them all without appearing to be as dull obsessive and monotonous about what we do here at the film experience as those investigations into unsolved cold cases are in The Girl With the Dragon Tattoo.
I've lept from Nomi to Noomi so I pray you're still with me.
I just watched the first film in the Millenium trilogy months after the hoopla and and I'm sorry that I have to ask it: WHAT is the big deal? It's so inelegantly structured as a film and so TV like in its choices. It's also a shade too enamored of the misogyny it condemns. I'd been vaguely curious to see it because audience identification with this violent barely verbal girlwoman fascinates me; what does it say about us that it's been such a great year for aspergers anti-heroes (see also: Social Network)?
The best moments in the film were rare tossed off funny bits, usually courtesy of Michael Nykvist (who you'll recognize from the great Swedish picture Together or the Oscar nominee As It Is In Heaven) and a few fine details within Noomi Rapace's leading work as the very popular Lisbeth Salander. You can sometimes catch Lisbeth trying to decipher her own impenetrable emotions as if they're as myterious to her as they are to us, which was a very nice actorly touch. Noomi was recently nominated for the "Critics Choice" and though she's good in the role, I can't say it was the revelation I'd hoped for given the acclaim and the sudden explosion of job offers that followed the trilogy (I'm actually totally weirded out that anyone -- in this case the film's director -- thinks she's been mistreated or cold shouldered by Hollywood).
In other words, I'm interested to see what Rooney Mara does for David Fincher in the same role; every once in a blue moon cover versions are better than originals. We'll see.Mostly I was disappointed in the writing and filmmaking and that it felt like a television show. Just about the only visual thrill in the long film was the scene where black and white photos are made to move as continuous negatives chase each other. That image is smartly repeated. They must have known that it really worked. The scene haunts like the girl's a living ghost, which is a neat trick given the narrative. We wonder, along with Mikael Blomkvist, what spooked this dead girl and redirected her blurry gaze away from the camera.
In short... Noomi: B/B+ Movie: C Opportunity to See David Fincher Take a Crack At This Material: B- On this last. Fincher is one of my favorite filmmakers but I'd rather he do something else since this film already exists but he's very talented and he'll surely improve on it... though I'll miss the Swedish authenticity given that they're not changing the locale and given that I'm never very excited about people remaking foreign films for America. But my main question is: Why does he want to do yet another unsolved mystery/serial killer story? It's too early in that career to start repeating himself, isn't it?
What were we talking about?
Oh, yes, critics prizes. If you'd like to discuss Toronto, San Diego, San Francisco and who dared to plant a flag that didn't say "Social Network!" on it >GASP!<, read on.
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