USA - 2011

director.gif (905 bytes)David Fincher


Daniel Craig - Mikael Blomkvist
Rooney Mara - Lisbeth Salander

Stellan Skarsgård - Martin Vanger

Robin Wright - Erica Berger
Christopher Plummer - Erik Vanger
Goran Visnjic - Dragan Armansky
Joely Richardson - Anita Vanger
Embeth Davidtz - Annika Blomkvist
Elodie Yung - Miriam Wu
Geraldine James - Cecelia Vanger



December 21, 2011


Mikael Blomkvist, a discredited journalist, and a mysterious computer hacker named Lisbeth Salander discover that even the wealthiest families have skeletons in their closets while working to solve the mystery of a 40-year-old murder. Erik Vanger suspects that his niece, Harriet, may have been killed by a member of their own family.  The deeper Blomkvist and Salander dig for the truth, however, the more dangerous it becomes because some members of the family will go to great lengths to keep their secrets tightly sealed.

button_box.gif (205 bytes)PRODUCTION NOTES:

From the beginning, David Fincher and Steven Zaillian made the decision to maintain Stieg Larsson’s Swedish setting and not presume to drop the story wholesale into America. To capture Larsson’s interplay of light and noir against the Swedish landscape, Fincher worked closely with an artistic crew that includes Oscar®-nominated cinematographer Jeff Cronenweth and Oscar®-winning production designer Donald Graham Burt.

Burt set out on a month-long trek across Sweden, not so much to scout locations as to soak in the atmosphere. Later, Fincher joined Burt in Sweden, and the two began to talk about the film’s overall design structure. While Burt built some sets on location in Sweden, the majority of stage work was done in the U.S. to afford Burt and his team more creative flexibility. These sets included two of the story’s most essential locales: Blomkvist and Salander’s diametrically opposed apartments.

One of Burt’s most fascinating challenges was creating the Vanger estate, shot in a mansion located southwest of Stockholm that the team turned into a family enclave rife with secrets. According to Burt, the estate is considered to be in a typical style of a “manor from Småland” – based upon 18th Century French architecture. Contrasting to the sprawling country manor is the banality of Bjurman’s office. In all of his design work, Burt aimed squarely at reflecting Larsson’s Swedishness, as well as his fascination with the treachery running underneath everyday life.


button_box.gif (205 bytes)PRAISE FOR STELLAN:

"Mr. Skarsgård is especially scary because of the sheer exploitation of power with which he manipulates people under the guise of polite, amiable calm—making his later scenes from friendly to ferocious doubly shocking."   ...Rex Reed, The Observer

"What's fresh, in its ambiguity, is the creepy-elegant performance of Stellan Skarsgård. He plays Harriet's brother, not to mention the Vanger descendant with by far the most spectacular kitchen — which, in a film this suspicious of old money, certainly targets him as someone to be watched."   ...Owen Glieberman, EW

"Supporting turns are meanwhile stellar across the board; Christopher Plummer leads the pack and steals quite a few scenes as the sweet old man finally hoping for some long-due closure, while Stellan Skarsgård is also worth singling out in a worthy, meaty role."  ...Shaun Munro,

"Fincher has grasped the story's essential sensibilities as the tale unfolds, complete with its ugly revelations. The cast is superb, with Stellan Skarsgård bringing gravitas and cultural credibility as the nephew who lives in the house on the hill."       ...Louise Keller, Sydney Morning Herald

"The odd variety of strong, weak and non-existent Swedish accents is only slightly distracting at first, and eventually, the speech styles seem almost a reflection of character. Curiously, it is the cast’s major Swedish actor, Skarsgård, who sounds the most American, which does nothing to undermine the power of his performance. While fans may argue for years over the superiority of Team Noomi or Team Rooney,  version of Skarsgård's Martin Vanger tops both the book and the previous adaptation. He brings the story a much-needed sardonic zest for evil."   ...Liam Lacey, Globe and Mail

"The ensemble is strong. Stellan Skarsgård brings a monied confidence to Martin Vanger, Harriet's brother and the head of the family business. Wright restores backbone and intellect to the character of Erika."  ...Lisa Kennedy, Denver Post

"As the missing girl’s brother Martin, Stellan Skarsgård is as implacably smooth as one might wish for."  ...Peter Rainer, Christian Science Monitor

"One of the aspects of the film that was hailed before shooting even began was the seemingly impeccable casting. Christopher Plummer was a universally beloved choice as the elder Vanger, as was Stellan Skarsgård as the current Vanger Corp. CEO, Martin Vanger. The rest of the cast – including Joely Richardson and Robin Wright – are strong."   ...Jeremy Wilson,

"Stellan Skarsgård steps up brilliantly as the suave Martin Vanger who holds deep evil secrets. His final scene in the film haunts you with the honey-tinged delivery of immoral revelations."   ...Kathryn Schroeder, Film Fracture

"Daniel Craig plays the lead, journalist Mikael Blomkvist, with selfless sobriety; Christopher Plummer, Stellan Skarsgård and Robin Wright all provide predictably assuring support; and the look-and-feel, including Jeff Cronenweth’s crisp cinematography and the moody score by Trent Reznor and Atticus Ross, is top-shelf."  ...Shawn Levy, The Oregonian

"Plummer contributes another of his superb late-career turns as the frail but determined Henrik, and Stellan Skarsgård offers a typically skillful turn as his supportive son Martin."   ...Frank Swietek, One Guy's Opinion

"Zaillian's script comes down to a series of fraught scenes between his leads and a distinctive gallery of supporting characters, given weight by Stellan Skarsgård, Robin Wright and the iconic London actor Steven Berkoff."   ...Roger Ebert, Chicago Sun-Times

"Supporting ringers such as Christopher Plummer, Steven Berkoff, Stellan Skarsgård and Robin Wright evoke persuasive shades of righteousness and evil, depending, in a workable melange of Scandinavian and British dialects."   ...Michael Phillips, Chicago Tribune