I was rather surprised how successful this was, and how much I enjoyed it. Something of a sequel and reboot for the franchise, following the original three films starring Noomi Rapace and the Western remake of the first of that trilogy, The Girl with the Dragon Tattoo by David Fincher that starred Rooney Mara as Lisbeth Salander. Phew, that’s seems a little complicated looking back on it- and rather symptomatic of the state of the film industry these days. Its enough to make this latest film seem rather cynical.
Which does hang over the whole enterprise. Based on a book by David Lagercrantz, in turn based on characters in the original book series by the late Stieg Larsson, the whole thing is an attempt to extend the original book series and films beyond it- a little like James Bond books and films running far beyond the passing of Bond creator Ian Fleming. Characters can so easily gain an immortality of their own far beyond that of original creators, and while it may have noble intentions there is always a sniff of opportunism and money-making in things like this. Its also rather true that in this film, and possibly the original book, there seems a concious intention to shift away from the dark character-based intensity of the Larsson originals and towards a larger espionage/James Bond thriller vibe- perhaps a little like the Jason Bourne franchise. It does feel a little incongruous for Lisbeth here to be drawn into a thriller about a program that can seize control of the world’s nuclear arsenals and leave the world ransom to armageddon- it really does feel more like the plot of a Bond movie.
Which might be a good thing, I don’t know. I certainly quite enjoyed it, because it did seem to be stretching the character a little and pushing the boundaries- but does it do that too much? I guess that’s more a question for die-hard fans of the Larsson originals to ponder.
Taking over the role of Lisbeth Salander here is Claire Foy, which really seemed a bit of a stretch to me when I became aware of the casting but I have to say it works quite well. There’s a few peculiar moments where Foy seems to suddenly channel the Queen from Netflix’s The Crown (an occasional inflection of her voice, or flash of her eyes, sometimes) but on the whole she’s really intense and surprisingly successful, She manages the physical moments very well too- certainly a far cry from Little Dorrit.
Less successful, and very surprisingly so really, is Sylvia Hoeks as Camilla Salander, the main villain of the film and sister of our heroine. Hoeks was simply brilliant as Luv in BR2049, a really quite complex and nuanced character/performance but here she does seem to simply be a blonde Luv, reprising that role alarmingly in what feels a one-note performance. In Hoeks defence, I suspect it’s more the limitations of the part as written, leaving her little else to really do with it, but its similarity to her character in BR2049 is really disappointing. When I saw her name in the credits my interest in the film was raised considerably as I’ve not seen her in anything else other than BR2049 and I was really curious to see her possibly surprise me, but alas, no, this really is just more of the same.
I gather the box-office returns from this film were quite poor so we are unlikely to see Foy reprise the role in future installments. Perhaps the intent to reboot the series into another film franchise with yet another cast was perceived as cynical and ill-judged, and got the rewards it deserved. For myself, the quality of the film (it’s a pretty successful, albeit routine, old-fashioned thriller, and there’s nothing particularly wrong with that in a cinema swamped by superhero caped crusaders etc) seemed pretty decent and I found myself enjoying it much more than I had expected. It does make me wonder if sometimes films such as this might be budgeted too highly – I suppose the purported budget of $43 million might seem fairly low in the great scheme of $150 million blockbusters but its returns of just $35 million (with marketing costs etc the film must have been a bit of a bomb financially) would suggest the market simply isn’t strong enough to support films budgeted like this. If this is indeed the case then its an unfortunate state of affairs, and possibly suggests this kind of thriller might in future be relegated to Netflix/Amazon productions- which is a little sad, to consider that traditional cinema is no longer the place for thrillers like this.