Hey everyone. Capone in Chicago here.
After watching the third and final installment of the Swedish adaptation of Stieg Larsson's wildly popular Millennium trilogy (following THE GIRL WITH THE DRAGON TATTOO and THE GIRL WHO PLAYED WITH FIRE, which was just released on DVD this week), I realized that as three separate films viewed months apart, the story seems strangely and unnecessarily stretched out. Watched in a single day, one after the other, I think these three movies would feel like exactly what they are--a single, layered story that takes place in both the present and the past, in which the two time frames merge in a fairly unique and imaginative manner. Still, to get this trilogy in a single calendar year feels pretty special, especially when you consider the powerhouse performance we get from actress Noomi Rapace, who played the beyond-damaged (but not beyond-repair) Lisbeth Salander.
I've already heard some people complain about THE GIRL WHO KICKED THE HORNET'S NEST because Lisbeth spends more than half the film either in a coma or recovering in a hospital bed with very little to do (the remainder of the film has her largely in a courtroom, which isn't exactly Action Central either). I actually think that restricting Rapace in such a way has shown that she's still a compelling enough actress to make us care about her in any state. And I could stare at her face for days, both because she can make it beautiful when she wants and make it absolutely terrifying. The first time she walks into the courtroom in full Lisbeth piercings, spiked hair, studded collar, and ghostly makeup, I practically broke out into applause. But I'm getting ahead of myself...
Hornet's Nest is directed by PLAYED WITH FIRE helmer Daniel Alfredson and picks things up right after the events of the last film. Lisbeth has been shot in the head and beaten nearly to death. Her partner in crime (who shares almost no screen time with Lisbeth) is journalist Mikael Blomkvist (Michael Nyqvist) who is taking the information he learned in the last film and preparing a massive exposé on government corruption and how Lisbeth has been treated horrifically by the system most of her life. As part of his investigation, he will attempt to exonerate Lisbeth who is about to stand trial for the attempted murder of her father, who is also recovering in bed at the same hospital. When those with secrets that may be revealed in this article discover that Blomkvist has documents that could seriously damage their lives, an effort gets underway to recover the papers and eliminate any loose ends, including Lisbeth. Bodies begin piling up, evidence is acquired and lost, and events of the past come crashing into those of the present.
If I have one major complaint about THE GIRL WHO KICKED THE HORNET'S NEST is that it's a bit unfocused. As much as I think the film would like us to think Blomkvist is the one we're supposed to care the most about, there are far more interesting characters to attract our attention away from him. His staff at the magazine feels threatened (thanks to, you know, death threats and attempts on their lives), but that's never really dealt with. Blomkvist's editor and sometimes friend with benefits Erika Berger (Lena Endre) stops coming into the office as a result, but the magazine comes out anyway. There are a group of decrepit old men that seem to make life and death decisions to protect what little is left of their lives, but again, the film never really stays with them long enough to make me care.
I will admit that I completely love the character of Lisbeth's sociopathic half-brother Ronald Niedermann (Mikael Spreitz), who returns to unleash utter chaos and destruction. He's awesome. The most fully realized of Hornet's Nest's supporting characters is Lisbeth's abusive and corrupt psychologist Dr. Peter Teleborian (Anders Ahlbom). In my mind, he's the villain we most want to see taken down in this movie, and Ahlbom plays him with just the right amount of self righteousness, guilt, and fear to make him oh-so worthy of our hate.
I don't really think any of the Millennium trilogy films are great works of art, but I've been eagerly anticipating the second and third parts ever since DRAON TATTOO flashed before my eyes and caused me to wonder "What the hell was that, and who is that remarkable, highly dateable woman in the lead?" At the same time, this story has run its course, and I'm not sad the series is over. And while I'm always curious about what David Fincher has in store, I can't say I'm bouncing off the walls with anticipation about his version of this story, especially since the films are being released at much greater intervals. As for the Swedish version of THE GIRL WHO KICKED THE HORNET'S NEST, my strongest recommendation is to watch the other two films first, then head out to see this one. Treat them like a single, really long movie. I think you'll find the entire experience more interesting that way.
-- Capone
capone@aintitcool.com
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