Realização:
Niels Arden OplevCâmara:
Eric KressMúsica:
Jacob GrothElenco:
Michael Nyqvist, Noomi Rapace, Lena Endre, Sven-Bertil Taube, Peter Haber, Peter Andersson, Marika Lagercrantz, Ingvar Hirdwall, Björn Granath, Ewa Fröling (mais)Sinopses(1)
Forty years ago, Harriet Vanger disappeared from a family gathering on the island owned and inhabited by the powerful Vanger clan. Her body was never found, yet her uncle is convinced it was murder and that the killer is a member of his own tightly knit but dysfunctional family. He employs disgraced financial journalist Mikael Blomkvist and the tattooed, ruthless computer hacker Lisbeth Salander to investigate. When the pair link Harriet’s disappearance to a number of grotesque murders from almost forty years ago, they begin to unravel a dark and appalling family history. But the Vanger's are a secretive clan, and Blomkvist and Salander are about to find out just how far they are prepared to go to protect themselves. (texto oficial do distribuidor)
(mais)Vídeos (2)
Críticas (10)
O esqueleto tradicional do thriller dos filmes do género Hollywood, refrescado pelos rostos não conhecidos dos bons actores europeus e dissecado em detalhe por um excelente argumento em várias camadas que aborda ainda mais do que um bom thriller abordaria - e consegue fazê-lo de uma forma respeitável e complexa. Duas horas e meia abarrotadas de suspense, conhecendo personagens interessantes e descobrindo os segredos afundados de um mundo escuro. Estou ansioso pelos seguintes dois filmes da trilogia do escritor Stieg Larsson, em cujo romance se baseia o argumento, e estou curioso para ver o remake americano. David Fincher é uma escolha sensata, ele é o único que consegue não estragar tudo.
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The whole trilogy is more or less about a girl who makes no compromises. Never and nowhere. And about a journalist who also makes no compromises in his professional life, unlike in his personal life. Never and nowhere. The whole trilogy is a feet-up watch which won’t make you want to put your feet up even a long time after reading it. And it’s adapted in a movie that makes compromises everywhere and in everything and it’s no problem to take a quick nap during it. Although part one is certainly the most difficult to adapt of the entire trilogy, the number of storylines being murderous. Oplev fails in not being able to decide whether to cut back the wealth of material in the book, just leaving the thrilleroid element or not. It would have been a shame, but it’s nigh on impossible to transfer what’s “extra" onto the screen. Where it flounders is that it includes a little of everything, but everything is just touched upon and nothing is investigated in depth, so it all just fizzles out. Which is a shame because those “post-Lingren" characters are crying out for a quality adaptation. But what is almost unbelievable is the casting of Lisbeth; I couldn’t believe it would be possible to cast her so that she both looks the part and can act too. Too bad the same can’t be said of Blomkvist. P.S.: I saw the movie before reading the book and even after doing so the overall impression was basically identical in both cases.
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I didn’t read the novels and haven’t watched the other two parts of the trilogy yet, so I don’t know whether some of the apparently pointless things in this film will have any meaning in the future, but the fact is that they feel very redundant within the scope of one feature detective movie. That said, I believe in the principle that I call “pointless things happen” (not all the events that simultaneously take place in real life are important for the main event taking place, therefore, they too should be included in scripts – i.e. they don’t have to be directly causal), and as such, that relatively redundant affair with Lisbeth’s caretaker didn’t bother me at all. If the film had finished half hour earlier, I would give it five stars, but that pointless epilogue brought the rating down a point.
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From the very beginning, each scene grows darker and more depressing with each passing moment, and yet neither the final reveals or the catharsis were at all moving for me. Maybe it's because there are so many emotional walls built around Lisbeth that I ended up watching her from a distance the entire time, and I was much more fascinated by Mikael. Or maybe it was that the adaptation merely skipped a few scenes that would have greatly helped me; it's hard to say. All I know for certain is that this wave of depression passed right by me, however engaged I was in the mystery itself.
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I've started reading the book, the film was first... despite the fact that in its complexity it cannot and does not want to match Larsson's juggernaut, it belongs in the top league given its atmosphere and processing. Oplev is an excellent stylist who films in a simplified form, but with a sense of logic and pace. I really, really like how the script cleverly shifted Mikael from a confident seducer to a closed weirdo – the Rapace/Nyqvist duet is absolutely excellent for the film's purposes. By the way, Noomi is extraordinarily charismatic and played Lisbeth perfectly. The film has very high quality equivalent for everything that it lacks from the book. The result is a contagious and catchy detective story... although it lacks the socially critical dimension of the original, it moves in its genre quite sovereignly. It's a very difficult challenge for Fincher...
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