The Best of David Fincher — Vol 5.

Winner of a single Oscar from five overall nominations at the 2012 Academy Awards, the fifth and final re-release of my favourite films directed by David Fincher remains a firm favourite and one day, one fine day, I’ll pen a triple treatise on this magnificent film, the one that came before it and of course, Stieg Larsson’s book. I love both films but the book was read far too many moons ago to really comment. Consider this is a “Coming Soon” article as I continue to appear far busier than I really am.
As I hope you’ll also read in the opus blog article on the career of David Fincher linked immediately below, I’m a rather myopic fan of the cinematic genius from Denver and had it not been for the re-releasing of my original article I wouldn’t necessarily have thought of writing the triple treatise outlined above, and nor sadly would I have known that the author, Steig Larsson, died nearly two decades ago aged just 50. I have lived in blissful ignorance of this fact until this very day and I can’t believe that such a world renowned writer who spawned the entire universe of the franchise it has grown into, passed away so young and, and now so long ago.
There speaks an old man!
Blimey.
Stieg Larsson (15th August 1954–9th November 2004)
David Fincher — 22 Years in Film
Alien 3, Se7en, The Game, Fight Club, Panic Room, Zodiac, Benjamin Button, Social Network, Girl With The Dragon Tattoo…medium.com

“I want you to help me catch a killer of women”.
Based on the book of the same name by Stieg Larsson (screenplay from Steven Zaillian) and a remake of the original made just two years previous to this release, this became an immediate firm favourite with me. The two central performances from Daniel Craig (excellent again) and Rooney Mara (mesmerising) propel this admitted remake, but it’s a stunning film nonetheless. The opening credits are similar in theme to Fight Club and they are accompanied by a resounding musical score again by Trent Reznor. From the outset we are quickly immersed into an absorbing thriller, following investigative journalist “Mikael Blomkvist” (an excellent Daniel Craig) who is hired by a wealthy, affluent and powerful family to investigate the murder of a family member 40 years ago.
One of the beautiful aspects of this film is the quick introduction of a host of principal characters, many of whom are played by a stellar cast. From Christopher Plummer as family Patriarch “Henrik”, to the outstanding (as ever) Stellan Skarsgard as “Martin”, Steven Berkoff as family consigliere “Dirch”, and Robin Wright as “Erika” amongst many more of the finest actors of our generation. Further supporting roles are garnered from Joely Richardson as “Anita Vanger”, Geraldine James as “Cecilia Vanger” and Goran Visnijic as “Dragan Armansky”.

Then we have Rooney Mara in simply a powerhouse performance as “Lisbeth Salander”. Together with Daniel Craig’s Mikael, we follow Lisbeth’s trials and tribulations, getting a real sense of of her strengths and weaknesses as a fellow investigative journalist. Act 2 commences with their unlikely alliance and their unlikely and unusual love story, but this is both getting ahead of ourselves and spoiling a well driven plot. Lisbeth appears on the surface as hard hearted, cold and distant, but her character is developed perfectly as we see a conscientious worker and compassionate carer to a Grandad/Father figure in her life. A ward of the state, it’s never openly clear as to the relationship, but the character is developed with a real sense of duality.

A further “character” to add is Hedestad, the remote Norwegian location where our wealthy and as you are soon to discover, strangely disparate and separated family, reside. Fincher shoots this perfectly. Numerous wide shots of the vast, open expanse is used, always snow covered and cold. It is barren, desolate and unwelcoming, especially to outsiders. A familiar David Fincher style of inter cutting between past and present events is again used, and to good effect, as we are often transported from a flashback to present time with the very same character in the flashback. Another near three hour film, however this never feels that length, nor does it feel forced or overly long, due in large part to the investment we make in the well explored and detailed characters.

Desperate to keep plot spoilers to a minimum, however it is worth noting the violence and forced sex early in the film. The violent scenes, especially in Acts 1 and 2 are graphic and explosive and often jolt you away from the investigative nature of the film. There are two rape scene’s, both graphically depicted, as well as a gruesome tattooing session that wreaks a very bloody revenge.
Similar to Fincher’s earlier Zodiac film in deliberation with the facts, investigative detail and compiling of evidence, this film is a real triumph and rewards well with repeated viewings. Collaborating again with joint editors Kirk Baxter and Angus Wall, the real kudos is reserved for regular collaborator and Director of Photography Jeff Cronenweth who brings Hedestad to life brilliantly and vibrantly and juggles the numerous and various other locations similarly well.
The fourth of Fincher’s films to give me “True Romance syndrome”.
Anyone want to go and get some pie with me?
Thanks for reading. Just for larks as always, and always a human reaction rather than spoilers galore. My three most recently published film articles are linked below or there’s well over 100 blog articles (with 300+ individual film reviews) within my archives from which to choose:
“Hunger” (2008)
Steve McQueen’s astonishing debut film.medium.com
“Adaptation” (2002)
The surreal inner workings of Charlie Kaufman.medium.com