I watched the American version of The Girl with the Dragon Tattoo today. I had previously seen and been a big fan of
the Swedish version, although I have not read the book.
I fell in love with the Swedish version because of the
character of Lisbeth, a sort of feminist superhero in my eyes. Lisbeth is a character who has been
victimized by those who are supposed to be responsible for her care (her
father, her state-appointed guardian) but refuses to be a victim. She’s smart and cunning; a survivor. In the American version, though, Lisbeth
loses this appeal for me because of differences in just a few key scenes. Let me explain the differences in Swedish
Lisbeth and American Lisbeth in some of these scenes.
___________________________________________
The revenge scene
In the American version, Lisbeth places a pillow on her naked
state-appointed guardian’s crotch, then straddles him to tattoo “I’m a rapist
pig” on his chest. This felt overly
sexual to me, and she seemed to take a great deal of pleasure in this
revenge. We watch her plan for it by
acquiring supplies, and we even see her getting a tattoo over the fresh bruises
on her ankle after he has restrained and raped her (leading to the revenge
scene).
In the Swedish version, the revenge scene seems more
matter-of-fact. It feels more like what
Lisbeth must do in order to be free of this tyrant. She does not seem to take any particular
pleasure in the act. When she tattoos
his chest, she does so from the side, and only after he struggles and squirms
does she pin down his pelvis with her
knee (not her vagina).
When Lisbeth and
Mikael meet for the first time
In the American version, Mikael gets permission from his
employer’s attorney to hire an assistant.
His employer recommends Lisbeth, who had performed Mikael’s background
check before being hired by Henrik Vanger.
Mikael shows up at Lisbeth’s apartment with the report she compiled on
him. Lisbeth seems frightened, but
agrees to let him in. Mikael had brought
breakfast, and tells Lisbeth to send the woman in her bed on her way, which she
proceeds to do. The woman in her bed,
seemingly sensing Lisbeth’s fear, asks Lisbeth if she needs her to say, but
Lisbeth dismisses her. Lisbeth them
places the taser she had used on her state-appointed guardian in her back
pocket before timidly approached Mikael in her own kitchen. She trembles while he explains why he is
there. He then threatens to turn her
into the police if she doesn’t cooperate with helping him solve his 40 year old
murder mystery. And that’s how their
relationship begins.
In the Swedish version, Lisbeth continues to hack into
Mikael’s computer even after completing the background check on him. As such, she is aware that he is
investigating a 40 year old murder. She
sees his files, which include a list of women’s names with numbers next to
them. She recognizes that the numbers
corresponds with Biblical passages, and she chooses to send Mikael an email
with this clue. Mikael later shows up at
her apartment with the background file she had created on him. She tells him to back away from the door so
she can unchain it, then she invites him in.
She then asks the woman in her bed to leave (with no prompting from
Mikael). She stands as if slightly
irritated (not afraid) while Mikael explains to her that her message is the
first new clue in the case. He asks for
her help with the case, and reminds her that as a professional computer hacker,
he was only able to find her because she wanted to be found. This Lisbeth sought out a case where she
could help track down a murderer of women; she was not blackmailed into it.
When Lisbeth and
Mikael have sex for the first time (and a couple of times thereafter)
In the American version, Lisbeth goes to Mikael’s bed
after he has been shot and undresses before mounting him. Shortly after mounting him, they flip
positions and the scene ends with him on top.
Later in the film, they are in bed together, and Mikael places his hand
under her shirt on her back then removes it; she then tells him to put his hand
back under her shirt, seeking out his touch.
In the Swedish version, Lisbeth enters Mikael’s bedroom
and mounts him. She continues to ride
him until she achieves orgasm. She then
dismounts and declares that she’s going back to her room. Later, in a post-coital moment in her bed, she
turns off the light and turns away from him, expecting him to get out of
bed. When he doesn’t leave, she turns
the light back on to ask what he’s doing.
I want to be close to you, he says.
After a brief pause, she says, “Fine, but I want to sleep” then turns
away from him again.
Martin’s death
In the American version, Lisbeth rescues Mikael from
Martin just in the nick of time, smashing Martin’s face with a golf club before
cutting Mikael down from his noose.
Martin flees, and before Lisbeth gives chase, she asks Mikael for
permission to kill Martin. That’s right, she asks for a man’s fucking
permission to kill a man who has raped and murdered countless women since the
1960s. She gives chase, and Martin
skids off the highway, flipping his automobile.
As she approaches the wreckage, the automobile (and Martin) burst into
flame.
In the Swedish version, Lisbeth arrives just in time to
whack Martin in the face with a golf club and cut Martin down from his
noose. She then chases Martin until he
crashes his automobile. When she
approaches the wreckage with fuel ominously dripping from the chassis, Martin
is still alive inside, calling out to her that he is unable to move. She stands by, listening to him, until the
automobile explodes with Martin screaming inside. Later, Mikael asks if she could have saved
him, and she admits that she could have.
Mikael tells her he could not have done that, but he understands why she
did. He also tells her that she does not
have to tell him all that she has been through, but he is glad she is
there. She only says “thanks” and places
her hand on his.
The end of the
movie
In the American version, the movie ends with Lisbeth
purchasing and expensive leather jacket and attempting to surprise Mikael with
it. Instead, she sees him arm in arm
with his long-time sexual partner, so she throws the present in the dumpsters
and speeds off on her motorbike.
In the Swedish version, Lisbeth takes money from bank
accounts of the corrupt Wennerstrom and disappears. No school girl crushes or pouting from this
Lisbeth.
___________________________________________
Since I have not read the book, I cannot say which
characterization of Lisbeth is more in keeping with the author’s original
vision. Regardless, I prefer Swedish
Lisbeth. She’s the sort of feminist
avenger I can get behind. Not so much
with American Lisbeth.
It’s also possible that David Fincher can’t direct a film
with an unadulterated, strong female lead.
After all, this is the guy that ruined the Alien franchise for me. In
the first two Alien movies, Ripley
is, in my view, a great feminist character.
She is a survivor. She is a female
lead who remains rational and focused on survival. She does not make stupid decisions that create
situations in which she must be saved or that unnecessarily put other
characters at risk. Also, in the first
two movies, Ripley is too busy surviving to be engaged in romantic or sexual
entanglements. In Alien
3 (directed by Fincher), we see Ripley at her butchest, shaved head and
all. Oddly, this is also the film in
which Ripley fucks another character for the first time in the franchise. I suppose the audience had to be reminded
that despite her strength, penchant for survival, and shaved head, Ripley still
had a hole that needed to be filled.
Maybe that’s Fincher’s message is The
Girl with a Dragon Tattoo, too – that no woman can be complete until her
heart and vagina are aflutter for a good man.