Review of The Girl with the Dragon Tattoo

Thanks to expertise of David Fincher at the helm, the film noir has turned distinctly white with this stealthy, and steely adaptation of The Girl With The Dragon Tattoo. The staples of the genre are all here, we have familial corruption, sexual sadism and murder, and Fincher has cast them all into a maelstrom of intrigue on a private and remote island where large pale houses loom starkly against the large pale sky.

The snow is falling heavily outside, the river has frozen and inside it is positively Baltic. Daniel Craig turns in a typically winning performance as the disgraced journalist from Stockholm, Mikael Blomkvist, who has accepted a commission from the wealthy industrialist Henrik Vanger (Christopher Plummer), a loner who lives in the far north amid numerous brothers and sisters that he can't even be bothered to speak to.

Vanger hires Blomkvist under the premise of researching his memoirs, although what he really wants, or so he says, is to find out who it was that abducted his teenaged niece over 40 years earlier. Vanger announces with relish that Blomkvist will be investigating the most detestable people he will ever meet; his family.

This film is the latest chapter in the weird afterlife of the author Stieg Larsson, who died in 2004 from a heart attack. Since then, this posthumously published novel, the first in his Millennium Trilogy, has sold over 30m copies, and has also spawned a successful film version in Swedish in 2009.

Many are now familiar with the constant twists and turns of the yarn, but if you don't it barely matters. Fincher expertly handles this film and makes it seem as fresh as if it had just come out of the freezer, although the word fresh doesn't fit into well in the description of a film steeped so deeply in the murkiness of human cruelty, and seems to excitedly disgusted by its own content.

Blomkvist's investigation brings him into contact with the turbulent computer hacker Lisbeth Salander, (Rooney Mara) who is also a ward of the state. Having been brutalized and tortured by the authorities and is a burning rage personified. She trusts nobody, not even herself, and she only manages to raise her eyes to look at Blomkvist when he tells her he needs her help to catch a killer of women.

It is a crying shame that not more Hollywood thrillers aren't as muscular, supple and gripping as this one. With a lesser director in charge, this could well have just ended up as a messy, trashy piece of pulp, but Fincher expertly pulls it all together by playing it straight down the line and keeping it intense and serious.

He makes us actually care about Salander and Blomkvist as they around the island and through the hidden corridors. They pass Nazi skeletons and references to the Old Testament on their way down to the basement. Tales such as this demand to be in the basement; secrets are buried, the light is turned on, and all hell breaks loose.

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