After much delay, I finally sat down to watch the second film in the Swedish cinematic adaptations of Stieg Larsson’s Millennium trilogy, The Girl Who Played with Fire. I have not read the books though I have seen both the Swedish version of The Girl with the Dragon Tattoo as well as the American adaptation directed by David Fincher. They both have their strengths though I thought David Fincher’s interpretation was clearly the best and Rooney Mara’s frighteningly intense turn as hacker prodigy/deeply troubled young adult Lisbeth Salander still ranks among the best female performances of this current decade. But, for reasons that I am unable to fully articulate I put off watching the first of the two sequels (apparently there were plans for six books but the author died before he could write the last three), and now, honestly, I can say I wish I had waited until the movie had shown up naturally on this list so I didn’t go out of my way to watch it.
That’s not to say that The Girl Who Played with Fire was a bad film. Far from it in fact. The aspects of the franchise that I find compelling remained intact. Lisbeth Salander is still an endlessly fascinating creation of feminist fury. Mikael Blomqvist is also the type of great journalistic character that hearkens back to All the President’s Men. And, as far as tales of shocking luridness go, the Millennium trilogy is hard to top. Add on the fact that this particular entry is much better directed than the original and The Girl Who Played with Fire should be even better than the first film. It isn’t. If both versions of the first book suffered from a rather cut-and-dry procedural crime investigation at their core, The Girl Who Played with Fire makes the look into the Vanger family seem like Sherlock Holmes. Full of gaping plot holes and inconsistent pacing, I am now pray that maybe Fincher and co. can wrest a great film out of this material.
After absconding with the bank account of the man that framed left-wing journalist Mikael Blomqvist (Michael Nyqvist) at the beginning of the first film, troubled hacker Lisbeth Salander (Noomi Rapace) returns to her native Sweden when she discovers that the state psychiatrist that had raped her in the first film plans on removing the damning tattoo Lisbeth forced upon him as revenge for his act of sadism and brutality. At the same time, Mikael begins to assist a young journalist who has a story that implicates many high-ranking Swedish government officials in a sex-trafficking ring. And when that journalist and his girlfriend (who is doing doctoral work on sex trafficking) are murdered with a gun owned by the psychiatrist Lisbeth came back to threaten and then he also winds up dead, it’s not long before the police begin to suspect Lisbeth in the murders and it’s up to her and Mikael to clear her name.
As a procedural crime mystery, I obviously don’t want to delve too deeply into the details of the plot for fear of spoiling anything that happens. But, I hope it’s not a spoiler if I say that the whole arc comes off as criminally disappointing in the end and I don’t mean that simply because the movie just sort of ends as it’s finally beginning to pick up the pace. The writing in this particular entry (and I almost suspect it’s partly the subtitles/translation because there’s no way the dialogue was this awkward in the original Swedish) comes off as lazy and half-there, and by the end of the film, particular pieces of evidence are collected and then there’s one moment that I’m fairly sure was meant to be a flashback but it appears to be a flashback to a moment that never actually happened in the film in the first place, but I may be wrong there. The movie wore me out and I decided to take a quick nap halfway through and start back where I left off so I could have just forgotten that moment.
Thankfully, Noomi Rapace and Michael Nyqvist are as great as ever. Though, one of the defining and most enjoyable aspects of the original film (in both its iterations) was the chemistry between Lisbeth and Mikael, and the two (SPOILER ALERT) don’t share the screen together until literally the final minutes of the film. Also, Noomi doesn’t have to carry out any scenes as tough as the multiple times she was raped in the first film though a particularly brutal moment towards the end of the film comes close. And Michael Nyqvist similarly doesn’t have nearly as much to work with. It’s good then that these two are pros and just their presence alone is enough to salvage less than spectacular writing. I’m hoping that by the time I get around to watching The Girl Who Kicked the Hornet’s Nest, these two will have more time on screen together.
I’ll draw this review to a close. This review comes off as particularly negative but I don’t want to give the impression that I didn’t enjoy The Girl Who Played with Fire. I did. I find the universe of the Millennium trilogy fascinating and unsettling and overflowing with frightening characters. Just, after the David Fincher version of the first book, I know that there is greatness possible in a cinematic version of this world, and once again, the native Swedish adaptations of the Swedish novel fails to deliver as well as one could hope. Mostly, I finished The Girl Who Played with Fire with a sense of “what could have been” and you never want to leave a movie that way.
Final Score: B-