The Girl with the Older, More Intelligent (Swedish) Sister

To start with I have to eat some words. I said in another review that I wouldn't see this film because I didn't want to tarnish my memory the superlative Swedish original and as a (very) minor protest against the crassness of Hollywood in remaking it, but I did see it after all.

It’s an excellent cast, even if there are only two Scandinavians (the superb Stellan Skarsgard, and Yorick van Wageningen as Bjurman) among the main players. Daniel Craig is, thankfully, not all action, which would have been inappropriate. Christopher Plummer is faultless as Henrik Vanger, and Steven Berkoff delightfully mysterious as his lawyer Frode. Skarsgard’s portrayal of Martin Vanger is also superb, although the character’s more subtle traits have been lost between book and script.

The inevitable question is how does it compare to the original film? The answer, pluses and minuses. Rooney Mara’s performance is excellent, but I found her portrayal of Lisbeth Salander a bit too repressed, almost dispassionate in places, compared to Noomi Rapace’s definitive original, and I was not entirely convinced by Yorick van Wageningen’s take on Bjurman, although it must be an exceedingly difficult role to play. Craig’s Blomkvsit has much to recommend it, but I think he is too dynamic compared to Michael Nykvist’s original. As a whole I think Fincher’s version is a bit too slick, diluting the sense of dogged investigation that serves the source material better.

Trent Reznor and Atticus Ross’s soundtrack for Fincher’s last, ‘The Social Network’ is note perfect, here I found it invasive to begin with, and although the musical interludes settle down, the soundtrack is close to dominating in places where the drama should have centre stage.

All in all I am glad I saw it, it’s a great film, but more a remake of Niels Arden Oplev’s 2009 screen version than a new adaptation of Stieg Larsson’s book, nonetheless well worth seeing if you can handle some violent scenes – but do wait 2 or 3 months then see the original Swedish films too (if you haven't), they are superb.

The New Socialism

Have you ever wondered what a collaboration between all your favourite creative people would look and sound like? To be honest I had not - it's such an improbable event, the chances of such a thing happening are so remote, that it's not even worth thinking about...

(Roll VT)

I am sitting in the superb Grosvenor Cinema in Glasgow's West End about to enjoy the latest offering from David Fincher, The Social Network. I knew that it was scripted by Aaron Sorkin - he of West Wing fame - either one is a strong recommendation on its own, but both together bodes very well indeed, I am anticipating eagerly. Trigger Street Productions - ah, an unexpected bonus, my favourite actor of the 90's Kevin Spacey (Glengarry Glen Ross (92), Swimming With Sharks (94), Se7en (95), Usual Suspects (95), LA Confidential (97), American Beauty (99) - an incomparable body of work in such a short period) has produced, truly a stamp of quality.

Even now a full house has not even entered my head, and then the opening bars of the soundtrack creep from the speakers as the camera tracks up the stairs, only the first handful of notes are required, it's only Trent Reznor who's written the soundtrack, prophet of an alternative generation and my touchstone for musical inspiration. Right from the opening lines you have to run to keep up. Sorkin's dialog is as snappy and intelligent as the West Wing or Studio 60 ever were, it's nasty, smug, angry when it needs to be, but always, always, very, very clever. Who do you pick to write a script about a 'computer genius'? A scriptwriting genius of course.

The central performances are all good, Jesse Eisenberg in particular as the anti-hero Zuckerberg, excellently portrays a detached and somewhat bemused persona that I would imagine most computer 'geniuses' have. The protagonists all have their faults and none of the characters elicited any sympathy from me. That's usually my cue to switch off, but The Social Network transcends the characters and the plot, which is largely irrelevant in the sense that we all know how the story ends (to this point at least). But the script holds everything together and I found it impossible to take my eyes off the screen. On paper this is a turkey, a movie about an Internet billionaire and the contractual and legal fog that surrounded his success? It could not be a better example of what true genius can deliver to the screen. As a child, like most children, I used to think that the actors did all the work, and I wondered who all the other people in the credits were - if ever there was a lesson in how wrong that childish view is it in the team that brought us The Social Network.

The Film That Rocked

There are some excellent music-themed movies out there and this latest effort from the ever reliable Working Title and Richard Curtis is another. Based on the 'adventures' of Radio Caroline in the 1960's this is great fun, with typically effortless performances from Bill Nighy, Nick Frost, Rhys Ifans and the masterful PSH. Kenneth Branagh (or kenNETH, braNAGH as the Good Doctor would have it) is a standout for me as the evil minister - Senator Palpatine meets Sir Humphrey if you will - and Jack Davenport reprises his Norrington roll in Pirates of the Caribbean as the self-serving lackey, only 300 years later. Also, our laconic and likable hero Carl (Tom Sturridge) is a ringer for Trent Reznor I think! (you decide).

Okay it doesn't scale the heights of 'This Is Spinal Tap' or 'The Commitments', but it's a good movie that recreates the feel of the free-loving 60's with affection (or so I hear, I was only born in '66). The soundtrack is every bit as good as you would expect of a film set in that time of musical revolution and written by Mr. Curtis. Whether you see it at the cinema or rent it it is definitely worth seeing. There are some very funny scenes, not a little excitement at the end, spotting the music is always entertaining and there is 'homage' to a certain Jimi Hendrix album cover...