Girl meets Foy
A new terror has been brought to going to the multiplex. I turned up to watch a movie the other day, thinking I was in comfortably good time, only to find that the trailers were already in progress. Still, it wasn't that big a deal, and so I and the other folk in attendance dutifully absorbed the publicity material for How to Train Your Dragon 3 (no thank you), Bumblebee (maybe, and I never thought I'd say that about a Transformers film), and Mary Poppins 2 (only if you put guns to the heads of my family). It should have occurred to me that something was amiss, but this only became apparent when the BBFC card came up, making it clear that we were all about to be exposed to Nativity Rocks!.
If you had released anthrax in the auditorium I doubt you would have seen so many people bolting for the door so rapidly. A somewhat panicked mob assembled at the concessions desk, as everyone explained (in voices perhaps an octave or so higher than normal) that they had paid to see The Girl in the Spider's Web, not some gruellingly schmaltzy family-friendly Christmas film. Fortunately, the cinema manager only had to reboot the projector and hand out some free ticket vouchers and peace was restored: the spectre of cute singing children and a seasonal message of goodwill was banished, and we could settle down to enjoy a feast of torture, bloodletting, misogynistic violence and general Scandinavian misery.
Stieg Larssen's Millennium books made pots of money about ten years ago, and that's the sort of thing that Hollywood studios notice. They do seem to have formed the notion that there is an audience for films based on these books and their central characters: Sony did, after all, spend $90 million on an English-language adaptation of The Girl with the Dragon Tattoo back in 2011, with A-list talent on both sides of the camera. Despite raking in two-and-a-half-times its budget, the arcane mysteries of Hollywood accounting mean that this film officially lost money, hence the rather lengthy delay before this follow-up (directed by Fede Alvarez).
Some thought seems to have gone into how to make this new film more financially viable than the previous one. The first one drew many unfavourable comparisons with the Swedish-language version with Noomi Rapace, and so the rest of the original Larssen trilogy has been skipped over in favour of the first adaptation of an authorised continuation to the series by someone else. David Fincher is still involved, but only as a producer, and Daniel Craig and Rooney Mara (with their expensive A-list salaries) have also had to look for work elsewhere. The more extreme elements of the first film have been toned down and massaged away to guarantee a more box-office-friendly 15 certificate.
As the film opens, Lisbeth Salander (she who is possessed of near-mystical computer hacking skills and a mythical piece of skin art) has become a legendary figure in Swedish society, occasionally surfacing to exact brutal vengeance on men who mistreat women. This is all basically backstory, however, for the plot proper sees Salander (now played by Claire Foy, who seems to be specialising in roles as iconic Betties) hired by a conscience-stricken atomic computer boffin (Stephen Merchant, playing it wholly straight) who has written a doomsday McGuffin for the American government and now wishes he hasn't. The boffin wants Salander to steal the McGuffin back, which she promptly does, but before she can hand it over armed bad guys bust into her hideout, try to kill her, and steal the one and only copy of the apocalyptic app in question.
Well, this is bad news for our girl (one wonders at what point she will start to be called the woman with the Dragon Tattoo, but I digress), as the police are after her for the initial theft, and the American NSA have sent an operative (LaKeith Stanfield) to get it back too. Luckily her old associate Mikael Blomkvist (Sverrir Gudnason) is able to help out and puts her on the trail of a secret organisation of very nasty pieces of work known as the Spiders. In charge of this mob, and currently in possession of the doomsday McGuffin, is a mysterious woman (Sylvia Hoeks) with issues of her own where Salander is concerned...
'I quite enjoyed it, but I could have done without all the anal rape,' was the considered opinion of one of the support team after we went to see The Girl with the Dragon Tattoo in early 2012. I suspect he spoke for a significant chunk of audience, for the sheer unflinchingly bleak grimness of the movie may be one of the reasons that it under-performed at the box office. I was kind of braced for more of the same this time around, especially after the film opened with some implied child abuse and continued with the aftermath of some brutal domestic violence. Was Spider's Web to be wall-to-wall misogynistic real-world horror?
It was not. I think the film is pulling a bit of a trick by establishing a tone not dissimilar to that of the Larssen books, and then going on to tell a story of a very different kind. The producers also appear to be playing a long game by attempting to establish Lisbeth Salander as the kind of genre character who a (potentially very long) series of films can be made about, the most obvious parallels being James Bond or perhaps Jason Bourne. Certainly the character as depicted in this film seems to be losing some of her depth and becoming slightly more cartoony, in addition to being almost absurdly omni-competent (She can hack anything! She can drive anything! It takes three burly men to subdue her in a fight!).
The Bourne franchise is probably the best parallel to what The Girl in the Spider's Web feels like to watch: you have the taciturn, quietly vulnerable protagonist, who's at much at odds with the authorities as the bad guys, you have well-staged action sequences that still manage to keep one foot in reality, and you've got lots of stuff with things being urgently downloaded in a crisis. And as such the film is actually pretty entertaining to watch, even if you don't have to dig too deeply into the premise of the story to find something absurd going on.
Foy, I suppose, is okay as Salander, which is really the star part in this film (Gudnason as Blomkvist is in a very subordinate role) – it's mostly just looking stern or stoical, depending on the requirements of the scene, but Foy is up to that. I'm not sure about the 'Allo Sven, I got a Volvo' accent she employs to signify she is supposed to be speaking Swedish, but the film kind of obfuscates what's going on in this area. Stanfield is reasonably good in the admittedly limited role of the token American character, but I have to say that this is not really a performance-driven film: people I've seen give very good turns elsewhere recently don't make much of an impression here.
In the end, this is at its heart a very competent and polished genre movie, with a few unusually nasty moments and perhaps pretensions to be more of a character-driven drama. I have to say my expectations were not especially high, but as a thriller it is quite effective – whether or not you're familiar with the other books or films, I would guess. Whether this will guarantee further adventures building on Larssen I'm not sure, but this one at least is entertaining enough.