David O'ConnellThe Girl Who Played With Fire
September 13th 2010 06:12
Director Daniel Alfredson’s sequel to the first of three Stieg Larsson adaptations, The Girl with the Dragon Tattoo (2009), limps into cinemas with an all-too familiar reminder of the virtual infallibility of the law of diminishing returns. Engrossing plot threads interwoven with flair and the application of some convincing cinematic sheen may have distinguished the original but The Girl Who Played With Fire is a major letdown in nearly every respect, especially for the novel's millions of readers.
For starters the film is clearly hampered by downsized production values. It looks awful – grainy and ugly, as though literally stretched to the point at which its low-grade film stock is beginning to break down. Originally broadcast on Swedish television, the film simply lacks technical polish. A big-budget adaptation this is not.
The troubled Lisbeth Salander (Noomi Rapace), an ambitious and strikingly original - if unrealistic - character is framed for the murder of two journalists who have just been contracted by Mikael Blomqvist (Michael Nyqvist) to flesh out the findings of their detailed investigation into sex-trafficking and corruption in high places in his Millennium magazine.
Will Blomqvist be able to assemble the facts, even if it means proving her guilt? Will Lisbeth's tragic past come back to haunt her in unforseen ways? Will any book in the trilogy receive an adaptation less than an interminable 130 minutes long?
Screenwriter Jonas Frykberg is credited with the adaptation this time and it’s a thoroughly botched job. Whereas the first film employed a clever means of bridging the salient plot points, thus preserving the integrity of Larsson’s narrative arc, this underwhelming sequel feels like a holey misadventure, with barely a skeletal outline of the novel remaining. Gross abbreviation is a necessary byproduct of any adaptation, of course, but this feels like the work of a second-rate butcher rushing to get some rough-edged steaks crammed onto his window racks before pension day and the doddering charge of the blue-rinse brigade.
Rapace as Salander
Rapace, with her invasive, searing dark gaze, is once again the best thing about the film. Though she may have shed some of the grungy, goth look, she still possesses intangible qualities that prevent you from turning away whenever she’s on screen, even if her suitably sullen exterior guarantees minimal interaction with others. She gives her all and is strong in some key moments (overlooking a silly scene in which she threatens a journalist wearing clownish make-up). But overall she’s losing the battle with so many contrived, mildly ludicrous and shoddily-performed characters around her; look no further than the evil, physically scarred father figure and his pet, a towering, dim-witted goon with a convenient ailment that virtually prevents him from feeling pain.
Nykvist seems to sleepwalk through the film; admittedly that’s partly due to his own inimitable style but Blomkvist is never seen generating the sense of urgency that Salander’s predicament would seem to require. Alfredson’s direction is flaccid and obvious, with composer Jacob Groth’s stingers hitting high notes of absurdity in attempting to pitch audience members skyward in a couple of derivative moments. In truth, they do serve a justifiable reasoning – namely, as intermittent jolts to prevent a plummet into that bottomless chasm of slumber.
With a gazillion readers – and thus ready-made audience members – willing to hop aboard this gravy train without a single consideration for how good it might actually be, financial success is assured. The Girl Who Played With Fire (2010) is tainted by mediocrity however and is a pulpy distraction, nothing more. Ultimately it leaves a very bad taste in the mouth. The fact that Frykberg has once again adapted the series closer doesn’t exactly fill me with optimism. If you were expecting the further fanning of a literary bonfire that continues to stalk the best-seller lists, you’re in for a rude awakening. There’s barely enough inspiration here to douse a flickering flame.
The Girl Who Played With Fire opens in Australian cinemas on September 23.
| 165 |
| Vote |
subscribe to this blog
Comment by Bryn
Horrorphile
Comment by MelG
Comment by ShaunK
Screen Adventure
anyway - I havn't read any of the books and I havnt seen any of the films - so I no nussing
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
I don't think having just finished the book did my viewing experience any favours to be honest. All I could see were the omitted bits and lack of a cohesive tying up of all the loose ends. I just thought it was a very underwhelming piece of cinemas to be honest though I really like Rapace, she continues to impress.
Comment by JohnDoe
Film & TV on DVD
Haven't seen this second part yet but did enjoy the first for what it was.
Comment by Matt Shea
Comment by Bryn
Horrorphile