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Journalist Mikael Blomkvist is aided in his search for a woman who has been missing for forty years by Lisbeth Salander, a young computer hacker.Journalist Mikael Blomkvist is aided in his search for a woman who has been missing for forty years by Lisbeth Salander, a young computer hacker.Journalist Mikael Blomkvist is aided in his search for a woman who has been missing for forty years by Lisbeth Salander, a young computer hacker. (Source: www.imdb.com)
The success of the heroine Lisbeth Salander suggests a hunger in audiences for an action picture hero who is not a white 35ish male with stubble on his chin. Such characters are often effective, but they sometimes seem on loan from other films. There are few characters anywhere like Salander, played here by Rooney Mara and by Noomi Rapace in the original 2009 Swedish picture. Thin, stark, haunted, with a look that crosses goth with S&M, she is fearsomely intelligent and emotionally stranded.
Director David Fincher tapped animation design studio Blur (Venice, California) to create the opening title sequence for his highly-anticipated film based on the first story of Stieg Larsson’s Millenium Trilogy. With the comment, “All I’m asking you to do is reinvent any expectations of what a title sequence could be,” Blur and Fincher began culling key moments from the series that would lend themselves to abstract imagery and visual metaphors. Their goal was to tell a story, in a two-and-a-half minute open, that would foreshadow the entire trilogy.
A journalist, publisher of the political magazine Millennium, and the protagonist of the novel. Ethical, earnest, and a little naïve, Blomkvist accepts a freelance job to solve the mystery of Harriet Vanger’s disappearance in order to restore his good name after a libel conviction threatens his journalistic career and the future of his magazine. (Source: www.sparknotes.com)