Dragon Tattoo.


I know I rarely ‘blog’ in this way and nearly always only post reviews, but I have a lot of time right now and I wanted to talk about this. We’ll see if it becomes a more regular thing.

Anyway, The Girl with the Dragon Tattoo premiered in London last night. Word on Twitter is that Fincher is staying in town at The Dorchester, which should mean plenty of press interviews are going on at the moment (At least, I would hope so. The Sunday Times had a piece on and with Scorsese last week, so I see no reason why Fincher wouldn’t be similarly suitable). Keep an eye out for a feature in the British broadsheets over the next few weekends.

Because the original was so good and this looked like a pure moneymaking Hollywoodising project, I wasn’t that excited about this. But then I remembered The Social Network once more and I finally saw Fight Club last week (still stunned; review to follow at some point) and I realised David Fincher is a man that always means business. He will have taken this on for a good reason, and if anyone can enhance the already universally acclaimed material here, Fincher will be the man.

The trailer is typically sharp in its visuals, and if the soundtrack rings a bell it’s because Trent Reznor and Atticus Ross are on board again – the men musically behind last year’s Social Network. And then of course there is also, once more, Rooney Mara, promoted from her small turn as Zuckerberg’s ex to being entrusted with the task of embodying the notorious Lisbeth Salander. If the film is good, she’ll be up for an Oscar, regardless of how great her performance is. The character is just too original to be ignored.

Otherwise, however, the trailer gives little away regarding how this film is going to end up feeling. Mara, as can be seen above, is looking stunningly good, retaining the short black head of hair necessary for the film. And further good news comes with the arrival of an 18 certificate, which makes clear an intention to stay strictly violent and traumatic as the novel demands, even if it means losing the teen market and the ticket sales that would come with it. The release date in Britain is Boxing Day; it should turn out to be a real treat.

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