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Another night, while walking outdoors, a bullet grazes his forehead; after Salander tends his wounds, they have sex.
Blomkvist begins to suspect Martin, Harriet's brother and operational head of the Vanger empire. Salander also uncovers evidence that Harriet's late father, Gottfried, and later Martin, committed the murders.
Blomkvist breaks into Martin's house to obtain more proof, but Martin arrives and catches him. He forces Blomkvist into his specially prepared basement, knocking him out and placing him in restraints.
Martin brags about killing and raping women for decades, as did his father, who sexually abused him and Harriet, but denies murdering Harriet.
As Martin is about to kill Blomkvist, Salander arrives, attacking Martin and forcing him to flee in his SUV; she pursues him on her motorcycle until he runs off the road and hits a propane tank, blowing up the car and killing him.
Salander nurses Blomkvist back to health and tells him that, as a child, she was institutionalized after attempting to burn her father alive.
They deduce that Harriet is alive and in hiding; traveling to London, they confront Harriet's cousin, Anita, only to discover she is Harriet.
Harriet reveals that Gottfried and Martin sexually abused her for years, and that Martin continued the abuse after she killed Gottfried in an act of self-defense.
Her cousin, Anita, smuggled her off the island and let Harriet assume her identity in London, though Anita and her husband were later killed in a car accident.
Finally free of her brother, Harriet returns to Sweden and tearfully reunites with Henrik. As promised, Henrik gives Blomkvist information against Wennerström, but it proves to be outdated and useless.
Salander reveals that she had hacked Wennerström's accounts, and gives Blomkvist evidence of Wennerström's crimes, which Blomkvist publishes in a scathing editorial, ruining him and bringing Blomkvist to national prominence.
Salander travels to Switzerland in disguise and removes two billion euros from Wennerström's secret accounts. Wennerström is later murdered in an apparent gangland shooting.
On her way to give Blomkvist a Christmas present, Salander sees him with Erika. She discards the gift and rides away on her motorbike.
The success of Stieg Larsson's novel created Hollywood interest in adapting the book, as became apparent in , when Lynton and Pascal pursued the idea of developing an "American" version unrelated to the Swedish film adaptation released that year.
By December, two major developments occurred for the project: Steven Zaillian , who had recently completed the script for Moneyball , became the screenwriter, while producer Scott Rudin finalized a partnership allocating full copyrights to Sony.
The screenwriter recalled, "They sent it to me and said, 'We want to do this. We will think of it as one thing for now.
It's possible that it can be two and three, but let's concentrate on this one. As they began to read, the duo noticed that it had a tendency to take "readers on a lot of side trips"—"from detailed explanations of surveillance techniques to angry attacks on corrupt Swedish industrialists," professed The Hollywood Reporter 's Gregg Kilday.
Fincher recalled of the encounter: "The ballistic, ripping-yarn thriller aspect of it is kind of a red herring in a weird way.
It is the thing that throws Salander and Blomkvist together, but it is their relationship you keep coming back to. I was just wondering what pages Zaillian would get rid of.
After a conversation, Fincher was comfortable "they were headed in the same direction". The writing process consumed approximately six months, including three months creating notes and analyzing the novel.
So with every decision that you make you are removing a whole bunch of other possibilities of where that story can go or what that character can do.
I didn't change anything just for the sake of changing it. There's a lot right about the book, but that part, I thought we could do it a different way, and it could be a nice surprise for the people that have read it.
Zaillian discussed many of the themes in Larsson's Millennium series with Fincher, taking the pair deeper into the novel's darker subjects, such as the psychological dissimilarities between rapists and murderers.
Zaillian commented, "A rapist, or at least our rapist, is about exercising his power over somebody. A serial killer is about destruction; they get off on destroying something.
It's not about having power over something, it's about eliminating it. What thrills them is slightly different. But at the same time you have to walk a razor thin line so that the audience can viscerally feel the need for revenge but also see the power of the ideas being expressed.
Fincher and Zaillian's central objective was to maintain the novel's setting. To portray Larsson's vision of Sweden, and the interaction of light on its landscape, Fincher cooperated with an artistic team that included cinematographer Jeff Cronenweth and production designer Donald Graham Burt.
The idea, according to Cronenweth, was to employ unorthodox light sources and maintain a realistic perspective. You allow silhouettes and darkness, but at the same time we also wanted shots to counter that, so it would not all be one continuous dramatic image.
Cronenweth commented, "It's always an element in the background and it was very important that you feel it as an audience member.
The winter becomes like a silent character in the film giving everything a low, cool-colored light that is super soft and non-direct.
He said of the process, "It takes time to start really taking in the nuances of a culture, to start seeing the themes that recur in the architecture, the landscape, the layouts of the cities and the habits of the people.
I felt I had to really integrate myself into this world to develop a true sense of place for the film. It was not just about understanding the physicality of the locations, but the metaphysics of them, and how the way people live comes out through design.
Principal photography began in Stockholm, Sweden in September On Queen Street, the facade of the area was renovated to mimic the Hotel Alder, after an old photograph of a building obtained by Fincher.
Recorded for over fifteen hours, twelve extras were sought for background roles. Fincher said "And we all almost pissed ourselves, we were laughing so hard.
Tim Miller , creative director for the title sequence, wanted to develop an abstract narrative that reflected the pivotal moments in the novel, as well as the character development of Lisbeth Salander.
It was arduous for Miller to conceptualize the sequence abstractly, given that Salander's occupation was a distinctive part of her personality.
His initial ideas were modeled after a keyboard. The futuristic qualities in the original designs provided for a much more cyberpunk appearance than the final product.
They probably had vacuum tubes in them, really old technology. And David would go 'More Tandy', until we ended up with something that looked like we glued a bunch of computer parts found at a junkyard together.
Fincher wanted the vignette to be a "personal nightmare" for Salander, replaying her darkest moments. After browsing through various paintings to no avail, Fincher chose a painting that depicted the artist, covered in black paint, standing in the middle of a gallery.
Many of Miller's sketches contained a liquid-like component, and were rewritten to produce the "gooey" element that was so desired.
The title sequence includes abundant references to the novel, and exposes several political themes. Salander's tattoos, such as her phoenix and dragon tattoos, were incorporated.
The multiple flower representations signified the biological life cycle , as well as Henrik, who received a pressed flower each year on his birthday.
And then a different flower, as that one is dying is rising from the middle of it. It was supposed to represent this cycle of the killer sending flowers.
In one instance, Blomkvist is strangled by strips of newspaper, a metaphor for the establishment squelching his exposes. In the "Hot Hands" vignette, a pair of rough, distorted hands that embrace Salander's face and melt it represent all that's bad in men.
The hands that embrace Blomkvist's face and shatter it, represent wealth and power. A cover of Led Zeppelin 's " Immigrant Song " plays throughout the title sequence.
Fincher stated that he sees title sequences as an opportunity to set the stage for the film, or to get an audience to let go of its preconceptions.
Software packages that were primarily used are 3ds Max for modeling , lighting , rendering , Softimage for rigging and animation , Digital Fusion for compositing , Real Flow for fluid dynamics , Sony Vegas for editorial , Zbrush and Mudbox for organic modeling , and VRAY for rendering.
Fincher recruited Reznor and Ross to produce the score; aside from their successful collaboration on The Social Network , the duo had worked together on albums from Nine Inch Nails' later discography.
Even before viewing the script, Reznor and Ross opted to use a redolent approach to creating the film's score. After discussing with Fincher the varying soundscapes and emotions, the duo spent six weeks composing.
He was filming at this time last year and assembling rough edits of scenes to see what it feels like, and he was inserting our music at that point, rather than using temp music, which is how it usually takes place, apparently.
It was a lesson we learned pretty quickly of, 'Everything is in flux, and approach it as such. Commentators at the event predicted that while the film would become a contender for several accolades, it would likely not become a forerunner in the pursuit for Academy Award nominations.
The censor board has judged the film unsuitable for public viewing in its unaltered form and, while we are committed to maintaining and protecting the vision of the director, we will, as always, respect the guidelines set by the board.
This caused a bit of confusion in the marketplace with consumers thinking they had obtained a bootleg copy. The number of theaters slightly increased to 2, The film similarly led the field in South Africa.
The Girl with the Dragon Tattoo received positive reviews from critics, with particular note to the cast, tone, score and cinematography.
The site's consensus states, "Brutal yet captivating, The Girl with the Dragon Tattoo is the result of David Fincher working at his lurid best with total role commitment from star Rooney Mara.
David Denby of The New Yorker asserted that the austere, but captivating installment presented a "glancing, chilled view" of a world where succinct moments of loyalty coexisted with constant trials of betrayal.
Scott , writing for The New York Times , admired the moments of "brilliantly orchestrated" anxiety and confusion, but felt that The Girl with the Dragon Tattoo was vulnerable to the "lumbering proceduralism" that he saw in its literary counterpart, as evident with the "long stretches of drab, hackneyed exposition that flatten the atmosphere".
The performances were a frequent topic in the critiques. Mara's performance, in particular, was admired by commentators. A revelation in the eyes of Entertainment Weekly 's Owen Gleiberman , he proclaimed that her character was more important than "her ability to solve a crime".
Club enjoyed the chemistry between Mara and Craig,  as did David Germain of the Associated Press ; "Mara and Craig make an indomitable screen pair, he nominally leading their intense search into decades-old serial killings, she surging ahead, plowing through obstacles with flashes of phenomenal intellect and eruptions of physical fury.
In addition to numerous awards, The Girl with the Dragon Tattoo was included on several year-end lists by film commentators and publications.
Mara is a revelation, and the film's daunting minute runtime breezes by thanks to one heart-racing scene after the next.
Dark and tough to watch at times, but a triumph all around. By November , it was announced that Sony was considering rebooting the franchise, before settling on continuing the film series with an adaptation of The Girl in the Spider's Web.
The story is based on a novel by David Lagercrantz that was a continuation of the original Millennium trilogy after series creator Stieg Larsson died in The film released in the U.
From Wikipedia, the free encyclopedia. This article is about the English-language film. For the Swedish-language film based on the same novel, see The Girl with the Dragon Tattoo film.
Theatrical release poster. Trent Reznor Atticus Ross. Kirk Baxter Angus Wall. Release date. Running time. Main article: The Girl with the Dragon Tattoo soundtrack.
I find experimenting around in that is an interesting place to work. Main article: The Girl in the Spider's Web film. British Board of Film Classification.
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Reed Business Information. Archived from the original on January 1, Associated Press. December 20, Digital Spy. December 14, Archived from the original on March 19, Retrieved March 22, Veterans Memorial Blvd.
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