The Girl With The Dragon Tattoo

It has been tough to escape the Millennium trilogy for the past three years. Author Stieg Larsson left his trilogy unpublished, it wasn’t until after his death that the books hit the shelves and became a worldwide phenomenon. It then became a movie made in Sweden which did not shine away from the darker parts of the story with European audiences unafraid to deal with such issues. When trying to make an American version of the film the studios called on none other than David Fincher who previously worked on Se7en and Zodiac. With an expertise in sadistic storytelling Fincher gives his telling of The Girl With The Dragon Tattoo an American touch.

In case you were unaware that David Fincher was directing the movie, the opening sequence should give it away. Two bodies cased in oil and covered in flame become one with Trent Rezner’s cover of "The Immigrant Song", the story hasn’t even started yet and his style comes screaming at you already. The concept behind this project plays perfectly into what Fincher is known for and is truly a perfect pairing. While there is little he can add to the overall story in fear of alienating fans, his biggest addition to the film is a glossy touch. For fans of the book and the Swedish movie, available on Netflix streaming, some of you may be surprised what he kept in the movie if you were anything like me who believed the American version was going to be softer. Fincher is still able to soften up the material through with some deadpan delivery from his leading lady. It is tough to tell whether some of the laughs were intended or accidental considering what’s going on.

Past the opening sequence, and for those of you unaware the movie opens on Mikael Blomkvist, played by Daniel Craig, leaving the courtroom having just been convicted of libel after going after the head of a major corporation. He probably should not have gone to print with material from one anonymous source. Either way with free time after stepping down from his magazine he accepts a job to investigate a 40-year-old murder of a young girl. While this is going on a brash young female rolls into the parking lot on her motorcycle, hair dyed black and still in a mohawk once she removes the helmet. Lisbeth Salander played by Rooney Mara has just completed her own investigation through different means, which some may call illegal, but now finds herself in trouble in her personal life. With the two different characters come the two completely different style of story, until the midway point where their paths cross and Fincher combines the tones into the one main arc. They almost seem as they could be two different movies, once they converge on each other Fincher allows the two to blend together till they are on the same beat.

Fincher takes his time before our two leads meet. Mikael Blomkvist’s story seems pretty straightforward, and he allows Craig to insert his confidence into the role, a confidence not seen in the original. The other half of the story dwells on the darker side. The character starts off visually assaulting, she seems so detached and soft spoken, isolated from the world. It isn’t till we see her investigative prowess where she shows off her skills and fortitude that the audience starts rooting for her. Larsson delves deep into the past and shows what made Lisbeth this way, and continues to do so throughout the story. Noomi Rapace injected herself into Lisbeth, succumbing to the psychosis of the character and entrenching herself in the darkness. Mara allows some light to shine through; her depiction of the character has a confidence to her as well. Not like Craig, who always has a swagger about him, Mara shows her confidence by playing Lisbeth as comfortable in her own skin. Mara doesn’t possess the same dark strength as the Swedish version. No doubt this is the studio telling her to play the psychosis down fearing they may alienate the audience. That darkness is what made Rapace’s portrayal of the character so mesmerizing in the original trilogy and will definitely be seen as lacking by fans of the material.

To not know about this story before this movie comes out probably means you avoided beaches, any major mode of transportation, or friends who enjoy holding it over your head that they actually read in their spare time. For some this may be the third time in the past three years to see a different take on one story. The source material is so strong that there is little doubt that this movie won’t be a success. To attach big names like David Fincher and Daniel Craig to the project only injects more confidence into the film. A confidence that definitely lacked in the Swedish movie, but don’t mistake that as positive. You don’t necessarily want a superhero or a glossy touch when dealing with gruesome murder. Mikael Nyqvist played the lead more straight on with little nuance to the role, but would a reporter really know how to handle torture as well as a James Bond would?

It is tough to not compare the book or the first movie to this new one considering how quickly all three were released. This movie stands well on its own and does a loyal retelling of the book through most of the movie. And short of adding a little gloss to the movie and taking away subtitles the shots aren’t all that different from the Swedish version. There is a lot to like about this movie, but that has more to do with the story than any changes that took place in this version. While it may not have needed a glossy touch, or a retelling as the original movie was done so well. If this is what it takes to get more people to see this story than they put together quite a team to execute with a gripping finished product. B+

2011 Oscars: Director

Over the past 50 years the best director and best picture award usually sync up. Makes sense the director is there from start to finish and he usually crafts the way the movie is to be made. Unless you have pissed off your editor. So with the big night just a couple of days away let’s look at the best directors of 2010

Darren Aronofsky, "Black Swan"
David O. Russell, "The Fighter"
Tom Hooper, "The King's Speech"
David Fincher, "The Social Network"
Joel Coen and Ethan Coen, "True Grit"

First and foremost HOW IS NOLAN NOT ON THIS LIST. I know people in the business have been going on and on about this snub, but it has justification. I mean come on, could anyone else in the industry make a movie like this. And why, because he didn't go to a few luncheons. Seriously. Alright I'm better, let’s continue.

Many speculate that it was the Coen Brothers who knocked off Nolan for the nomination (I know I said I was done bitching about it but this has a point, just wait) so that would make them the last ones invited to the party. I love their treatment of the West and they are at their comfort level in a rural atmosphere. Also working against them is they just won three years ago, and this film is not nearly at the same level as No Country for Old Men so I would have to suspect that they have probably the least possible chance to win.

I really enjoyed both Black Swan and The Fighter but these two movies are pretty much on the opposite ends of the spectrum. For every person out there who loved the almost noir style of the movie, there is another older voter out there who found the movie creepy and unwatchable. This movie is far too polarizing to win. The Fighter is a much safer watch with a happy and uplifting ending for all of the characters involved. But there is nothing to it visually. Russell pretty much just lets the actors be and allowed them to take over the scenes. This will get the movie a couple acting awards but makes it less likely for the film to win for its directing.

Now we are down the big two movies of the year. Tom Hooper has all the stats behind him. His movie is heavily favored to win best picture and he won the Director's Guild's award which also has a 70% carry over rate to repeat a win. So the easy pick would be Hooper to win as best director, but this may be a year to buck the odds. This relative new comer has already won Emmy gold and with the most nominations of the year this movie is going to walk away with some of the biggest awards of the night, but not this one.

The Social Network is an obvious choice for best adapted screenplay and rightly so, everyone notices the fast paced poetics that fly out of the actor's mouths. But the movie is also visually striking. Even in the day light hours there is a dark tone that is present through the entire film and I can assure you this is not done by accident. With the underhanded dealings and all the betrayals going on it the story the lighting captures the mood of the story. The pacing of the movie also has to do with just how the movie is put together. There are a lot of quick cut and close ups that allow you to become intimately involved with the characters. The framing of the story allows for the flow and it never feels like it is being rushed, but rather the time flies by in the movie which is always an accomplishment given so many people's short attention span. The Social Network had such early momentum that was all snagged up by The King's Speech but traces of its early domination can still be seen. The Academy will look to award David Fincher the award for best director, an award he deserves to win for what he did with the movie.

Will this win for Fincher be a telling sign of things to come for the nights last award, will all the Oscar predictors get it right with Speech, or will one of the other eight movies pull an upset and bring everyone on stage, we'll examine that tomorrow.

The Social Network

When word first came out that there was going to be a Facebook movie that was my first reaction "There is going to be a Facebook movie?!?" It was tough to initially sell it for me, but then the movie gained director David Fincher (Fight Club, Se7en) and screenwriter Aaron Sorkin (The West Wing, A Few Good Men). Then the critical reviews started coming out (it currently has a 97 on Rotten Tomatoes). The moment that sealed the deal is when the trailer featuring Kanye's song "Power" hit. I was hooked I needed to see this movie, and by most accounts many of you will probably see it in the near future if you haven't already.

The movie opens in a Cambridge bar that I have frequented on several occasions, and like most great motivators it all starts with a bad break up. Sorkin shows off a fast paced dialogue while Fincher sets the mood with the grungy lighting and turns a casual encounter into an eerie setting, their work really mashes up well together. In fact most of the best scenes happen when the characters are sitting down at a table with quick cuts and quicker dialogue. The sharp wit moves a mile a minute and if you lose focus you may miss an entire conversation.

Jesse Eisenberg stars as the CEO Mark Zuckerburg, many just may consider him Michael Cera lite but don't be mistaken, Cera may be better know but Eisenberg is a much better actor with a quality resume of films with another great addition. This role isn't too far off from his base, a socially inept outcast, but he somehow makes a self-interested asshole likable. You can't help but feel sorry for him at moments, or not depending on your perspective. Sorkin doesn't write the script taking one side or the other. He gets as many sources as he can and allows the audience to play the jury on each character which becomes fitting as the frame story takes you in and out of two lawsuits occurring simultaneously. The one source he is unable to get is Zuckerberg himself, not surprising, but what is stunning is that the lack of participation may have helped the story. By not getting this perspective it's no longer the Facebook/Zuckerburg movie, but rather a book about Zuckerburg adding more ambiguity to the character and more free range for Eisenberg to let loose.

This movie features a very strong ensemble cast and is easy to see why these actor will be the next generation of big names. Andrew Garfield plays Eduardo Saverin the C.F.O. and Zuckerburg's only friend in the entire film. I've heard some people say that the nicer the person the worse the businessman. Well Saverin is the nicest player in the whole group and in a group of various shades of gray he may be the lightest shade but still doesn't come out squeaky clean. Rooney Mara plays the heart breaker Erica Albright and her fast tongue and strong performance set the tone for the movie and is probably what landed her the lead role in the American version of The Girl with the Dragon Tattoo. It wouldn't be a David Fincher movie without some tricky computer imaging and that's exactly what he does to have one actor play both Winklevoss brothers. Then there is Justin Timberlake who you may not be able to take seriously due to some of his past endeavors. He really proves himself as the young entrepreneur who co-found Napster Sean Parker. He keeps the character sleek and his work on SNL helped hone in on his delivery skills. Timberlake flirts with the audience the entire movie so one minute you’ll love his enthusiasm next you’ll hate his treachery. He proves to be fantastic which may be why Entertainment Weekly wrote an article about how all three supporting actors could receive nominations come award season. That may not be true but Sorkin definitely will and Fincher should.

The Social Network is a modern day Citizen Kane. Both films feature a young upstart looking to make a name for himself in and both want acceptance from society. Even some of the scenes in the movie bear striking resemblance to some of Orson Welles' masterpiece. And why shouldn't this be a modern day retelling, the Internet has clearly taken the over as our main source of information. While I was writing this review I had Facebook up in the background the entire time, not doing anything with it but merely catching up on the tedium of some of my friends life that their inherent narcissism felt the entire world should know. That's what Facebook is all about, it’s an ego driven way to share the minutia of everyday life and I am right up there with some of the worst offenders. Sorkin is able to capture this feeling and addiction to this program in his script and makes this film an early Oscar contender. A