Podcasting: The Girl With The Dragon Tattoo

Last week, Aaron Neuwirth, Alan Aguilera, a very special guest, and myself took some time out to talk about The Girl With The Dragon Tattoo on a very special episode of Out Now with Aaron and Abe. The evening provided for a surprisingly in-depth discussion, with a significant (and amply warned!) spoiler section.

So, if you can't get enough of Lisbeth Salander, the complete podcast is below.

The Girl With The Dragon Tattoo (2011): Haven't We Met?

We don’t live in a vacuum.

This makes reviewing David Fincher’s new film more challenging than it ought to be, because, as a global phenomenon, the late Stieg Larsson’s Millenium Trilogy is the biggest thing since the Harry Potter series. To date, the Trilogy’s first novel, The Girl With The Dragon Tattoo, has sold around 30 million copies worldwide, and the first film adaptation (which, you might recall, ended up at #4 on my list of 2010’s best films) set the stage for the adaptation of the rest of the trilogy in its mother tongue.

So, here’s the thing. We know the story, and we know it well.

As such, it’s tough to watch the American interpretation without sitting with a mental checklist firmly at the forefront of the cranium, with telepathic pen ready to mark off what’s improved, unimproved, the same and completely different.

It’s not entirely fair, and I admit that freely. I’d like to have been able to watch the new film without any baggage and be able to report to you on exactly what it accomplishes on its own merits, but that’s just not possible.

So, what do we know?

For one, that the story is mostly the same. I’ve made the assumption that it’s one you know, but, of course, you might have been living under a rock, for which you have my pity and the following: Mikhail Blomkvist, the recently disgraced editor of Millenium magazine, takes a job to solve the 40 year old murder of millionaire tycoon Henrik Vanger’s niece, Harriet. After various twists and turns, he finds himself working with Lisbeth Salander, a brilliant, troubled hacker with a knack for collecting and interpreting information. What neither of them realize is how deeply the trail goes, and how much they will be changed by the journey.

The Girl With The Dragon Tattoo looks fantastic. Fincher’s attention to detail and commitment to craftsmanship certainly don’t go amiss, even if he doesn’t take the material as far down as he might have. There are some sinister, sinister goings on here, and that Fincher chooses not to linger on, shall we say, certain instances of depravity is a bit of a surprise, particularly given where his sensibilities have taken him in the past. It certainly doesn’t descend to the moral or visual depths that he’s capable of, most notably in his darkest (and I’d argue best) film, Se7en. Personally, I feel that Niels Arden Oplev’s 2009 film hit harder insofar as shocks go, which is surprising, given Fincher’s skill for unsettling an audience. Ironically, I’d heard that there was talk that MPAA was considering giving The Girl With The Dragon Tattoo an NC-17 rating. It’s an idea that I find laughable, because, if any Fincher film should have an NC-17 rating, it’s Se7en. In this one, the action onscreen never really goes past atypical R-rated content, though it’s certainly a “hard” R.

One of the highlights of the film is the work of editors Kirk Baxter and Angus Wall. The Girl With The Dragon Tattoo is one of the better edited films I’ve seen in years. As the story’s told from both Mikail and Lisbeth’s vantage points, the editors do a terrific job of linking the two when they’re not sharing the screen. What’s more, they take their continuity cues from various sources. A lingering or abrasive sound in one scene can serve as a link to the next, or a moving shot toward one object might be where it jumps off into the next scene with a similar visual. It becomes more natural as the story progresses and Mikail and Lisbeth come closer in both physical and emotional proximity. More than anything, it’s Baxter and Wall who help to provide The Girl With The Dragon Tattoo with its strong sense of rhythm. It may be over 2 ½ hours long but moves along very well, if not quite with the zippy pacing of Inglourious Basterds, the single zippiest 2 ½ hour movie I can recall.

Composers Atticus Ross and Trent Reznor play a big part in maintaining the film’s fluid continuity. Their work here and in The Social Network provide for some of the more exciting advances being made in contemporary film scoring. I think that Ross and Reznor’s two film scores to date continue a trend that began with Johnny Greenwood’s score for 2007’s There Will Be Blood, even if Greewood’s work is nearly traditional by comparison. With Ross and Reznor, their emphasis is on using music as a kind of invisible, referential sequence of sounds rather than as a collection of recognizable themes and motifs. While I don’t think that you’re going to be able to walk out of the theater and hum a single bar of the score, its influence upon the narrative is unmistakable.

The single best thing about The Girl With The Dragon Tattoo is the same thing that stood out in the Swedish original: Lisbeth Salander. She’s one of the strongest characters to hit the screen in years, and, as written, is remarkably compelling regardless of who’s playing her. I’m exaggerating, but it’s almost as though a paper sack could play Lisbeth and be incredibly effective. She’s that well-written of a character. While Lisbeth’s so tightly wound up to try and keep anyone from hurting her, there’s also a twinge of an idealist in there too. She’s the type that keeps her head down so nobody sees her face, but just can’t help peeking up at the stars.

Rooney Mara brings a very different sensibility to the part than Noomi Rapace did, and that’s not something I was quite expecting. For one, Mara’s got a much slighter physique, which, while Rapace isn’t bulky by any means, certainly changed the way I viewed the character. Where Rapace was withdrawn, introspective, and intensely private, Mara has a certain openness that’s unique to her take on Lisbeth. Daniel Craig, on the other hand, is fine, but it’s very much the same brooding action everyman that we’ve gotten used to seeing him play in every film he’s in. It’s not a bad act, certainly, but I’d like to see him branch out a little bit and try and play a few different notes on that piano.

A notable difference between the two films is the chemistry between the two leads. With Craig and Mara, Blomkvist seems to be the dominant one in the relationship, but with Nykvist and Rapace, it’s definitely Salander. Personally, I’d have to give the chemistry edge to Nykvist and Rapace. The way that their relationship evolved seemed more authentic and consistent with who they were and the influence of their life experiences upon their ability to interact with others. Mara and Craig, while a solid pair, don’t quite have the same cohesion, and there were moments when I felt that Mara’s Salander had a dependence on Blomkvist in a way that wasn’t entirely consistent with who I knew the character to be.

There are a few changes in the script that provide for a bit of a different effect than the original had. In particular, there’s a significant change to the story’s ending. Fortunately, it’s one that works, even if the staging of the initial reveal is poorly managed and dilutes what should be a pretty powerful moment. Additionally, where the Swedish film left out the novel’s affecting final scene, writer Steven Zaillian left it in, and ends the film on a poignant note that I think really does it credit.

Ultimately, The Girl With The Dragon Tattoo is stylishly engaging and a worthy adaptation of a story that now belongs to the world. If it’s not quite up the standard set by the 2009 film, it’s consistently entertaining and I hope it does the kind of box office that will be needed to ensure that Fincher gets the chance to make the remaining films in the trilogy.

I don’t often choose to see a film more than once theatrically, but I’m thinking that I might make another trip for this one. In my book, Lisbeth Salander is such a terrific character that any chance to spend some time following her around is time well spent.

I'm hooked, ok?

4 stars (out of 5)

One out of 365 . . .

Oscar night. The mere mention of those two words conjurs in my mind a feeling of excitement unlike just about any other that I experience for the rest of the year. Yes, it's true. The Academy Awards are my Superbowl. Months before the ceremony, I'm actively trying to guess what the nominees will be, keeping a keen eye on the Golden Globes, BAFTAs, and the Guild Awards for any sign that might illuminate what might transpire within the minds of the members of the Academy of Motion Picture Arts and Sciences. I have watched the telecast since I was a kid. I remember my mother turning it on and seeing the stars arrive on the red carpet. I never used to get to watch the whole telecast, since it invariably went on too long and meant that I had to go to bed. I still love Steve Martin's priceless line from the close of an Oscar telecast, "Well, we've reached the halfway point." So very true.

It's with great sadness that I report that I'll be missing the telecast this year. I am currently in London at the close of a whirlwind tour of Europe and, for the first time in what seems like forever, will not be able to watch the Academy Awards live. Instead, because of the generosity of a friend, I will be able to watch them after I get back. Before I left, I was willing to try to watch them here, whatever the cost. Now, after experiencing the rigors of non-stop travel and how hard it is to keep up with a 9 hour time difference, I feel differently.

However, there's no way in this world or the next that I would leave you without my Oscar picks. I've been trying to pick the winners for years now, with varying degrees of success. This year, I'll just say it. Some of the winners look like sure things, but as I always take care to remind you, this is the Academy we're talking about. They LOVE to make the "screw-you" pick that no one expects. So, while some seem like sure things, you never know.

Best Picture

• The Curious Case of Benjamin Button
• Frost/Nixon
• Milk
• The Reader
• Slumdog Millionaire

Predicted winner: Slumdog Millionaire
If I was voting: The Reader
Possible upsets: The Curious Case of Benjamin Button, The Reader

Analysis: Slumdog Millionaire is the obvious favorite. It's won nearly every single major award leading up to Oscar night and received overwhelming critical acclaim. That said, I can't help but feel that it's not entirely deserving of the Academy Award. Don't get me wrong, I liked it a lot and think that it's clearly one of 2008's best films, but I don't think it's got the "pop" that a Best Picture winner should have. Some of this stems from the fact that I think the film has third act problems and is just basically a really well-done feel-good movie. Now, once again, while a win in this category looks like a sure thing, you never know. A few years ago, Brokeback Mountain was in an almost identical position and lost to Crash, much like Saving Private Ryan's loss to Shakespeare In Love. If anything can beat it, I'd have to give the dark horse status to The Reader (never count Harvey Weinstein out of anything. ANYTHING.) and The Curious Case of Benjamin Button (for some reason, this scenario has a dim glimmer of possibility).

Best Director

• David Fincher - The Curious Case of Benjamin Button
• Ron Howard - Frost/Nixon
• Gus Van Sant - Milk
• Stephen Daldry - The Reader
• Danny Boyle - Slumdog Millionaire

Predicted winner: Danny Boyle
If I was voting: David Fincher
Possible upsets: David Fincher

Analysis: Danny Boyle has all the momentum, and, perhaps most importantly, the Director's Guild Award. That said, I think the Academy might split the Best Picture/Director awards and reward David Fincher's virtuosic work. While the film itself could have been stronger, the fact that Fincher managed to keep all of the balls in the air and somehow emege with a coherent film is a feat that deserves much more recognition than it's gotten up to this point. So, I'd be somewhat foolish not to pick Boyle, but I'm holding out hope for Fincher.

Best Actor

• Richard Jenkins - The Visitor
• Frank Langella - Frost/Nixon
• Sean Penn - Milk
• Brad Pitt - The Curious Case of Benjamin Button
• Mickey Rourke - The Wrestler

Predicted winner: Mickey Rourke
If I was voting: Mickey Rourke
Possible upsets: Sean Penn

Analysis: Basically, Penn and Rourke are the only serious contenders in this category. Penn has a bit more momentum than Rourke at this point, but I think that the Academy might not be able to resist rewarding Rourke's comeback. So, I'm picking Mickey Rourke with the knowledge that it could very easily be Sean Penn's night.

Best Actress

• Anne Hathaway - Rachel Getting Married
• Angelina Jolie - Changeling
• Melissa Leo - Frozen River
• Meryl Streep - Doubt
• Kate Winslet - The Reader

Predicted winner: Kate Winslet
If I was voting: Meryl Streep
Possible upsets: Meryl Streep, Anne Hathaway

Analyis: I think this award will probably go to Kate Winslet as a kind of consolation prize because she's been regarded as one of the best in the biz for so long without having won. That said, while I'm glad the Academy put her in the right category for this film (finally!), I think that Meryl Streep's performance was much better in the under-appreciated Doubt. There was a moment in that film when Streep gave me goosebumps. You don't fake that. I loved The Reader, but Winslet never got to me on that level. I don't care if Streep's won twice already. I don't care that she always gets nominated and never wins nowadays. This time, I think she's earned it. That said, I still think it's Winslet's night.

Best Supporting Actor:

• Josh Brolin - Milk
• Robert Downey, Jr. - Tropic Thunder
• Phillip Seymour Hoffman - Doubt
• Heath Ledger - The Dark Knight
• Michael Shannon - Revolutionary Road

Predicted winner: Heath Ledger
If I was voting: Heath Ledger
Possible upsets: None.

Analysis: This category is closed. No one else stands a chance. Was the buzz around Ledger's turn as the Joker heightened by his untimely death? Absolutely. Was that buzz underserved? Absolutely not. Ledger is that good. I remember when I first heard that he'd gotten the part. I didn't understand why he, of all people had been chosen. Now, I can't imagine anyone else in the part. No one else stands a chance on Sunday night.

Best Supporting Actress

• Amy Adams - Doubt
• Penelope Cruz - Vicky Cristina Barcelona
• Viola Davis - Doubt
• Taraji P. Henson - The Curious Case of Benjamin Button
• Marisa Tomei - The Wrestler

Predicted winner: Viola Davis
If I was voting: Marisa Tomei
Possible upsets: Penelope Cruz

Analysis: In the early going, Penelope Cruz had a lot of momentum, until Kate Winslet started getting acclaim for her performance in The Reader. However, after the Academy finally did the right thing and nominated her in the Leading category for that performance, this category has been thrown wide open. I think that Davis has the momentum right now, but Cruz could certainly swoop in for the win. That said, I have to be honest when I say that Marisa Tomei's character in The Wrestler was one of my favorite characters in any film last year. I don't think she'll win, but I loved her all the same. Hold on to your hats and glasses. This is the most open of all the major categories.

In closing, here's hoping that Hugh Jackman knocks it out of the park as the host, David Fincher gets his due, and and Slumdog Millionaire gets brought back down to earth. That balloon needs popping. Good film, but 10 nominations? Get real.

Enjoy the show.

This one might be just about done, folks . . .

Last night, the Director's Guild of America held their annual awards ceremony at the Century Plaza hotel in Los Angeles. Not surprisingly, Danny Boyle won the Guild's award for Outstanding Directorial Achievement in Feature Film for Slumdog Millionaire. This is highly significant, because the winner of the Director's Guild award usually goes on to take the Best Director prize at the Academy Awards. There's no real reason to doubt that happening this year too, although I hear rumblings of a possible win for David Fincher for The Curious Case Of Benjamin Button. If that were to happen, it'd probably be in the event of a Best Picture/Best Director split with Slumdog Millionaire. While I'd still put my money on Boyle at this point, the Academy has shown a willingness to split those two awards frequently in the past several years.

I'll keep you posted on any breaking developments . . .