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Lisbeth Salander has always been a transfixing heroin because she despises her role. In this version as always played by Noomi Rapace, she is battered, angry and aggressive towards even those who want to help her. Ganster who is fighting to the end in the courtroom of “The Girl Who Kicked the Hornet’s Nest” gets “chill” because of this magnificent question. Her lawyer sign her during the trial and does he defeat her into believing no infers wins.
i]In this sanity hearing, she is captured by the world of punk fashion. It includes black leather trousers, polished boots, razor jacket, multi-studded spike buckles, body piercings, eyeliner that looks truthfully like war paint, a great crest of dark hair. She sinks into silence and stands in the courtroom, an unyielding look of indifference etched in her features, robes of the court behind her as a grand pedestal.
We know from the previous two movies in the Stieg Larsson trilogy that she is intensely suffering emotionally due to childhood trauma and is exceptionally intelligent. The pain does not really go away, on the contrary, the pain comes back in the form of Niedermann (Mikael Spreitz), her freakishly large half-brother, a psychologist who had traumatized her during her institutionalization, and the rest of the members from “The Section,” a rogue execution branch of the Swedish national police who are out for her blood and want to kill her for good.
The contours of her predicament will be evident to those who watched “The Girl With the Dragon Tattoo” and “The Girl Who Played with Fire,” but for those who decide to watch this, it contains enough rapid fire flashback sequences to help you catch up. It begins exactly at the end of the second, post the violent clash in the barn with her father and half brother. A large portion of the first half of the movie is her post-surgery life in the hospital, where she sits in complete silence while an unremitting bullet in her brain forces her into a state of unconsciousness.
This allows the director, Daniel Alfredson, to dedicate more time to Mikael Blomkvist (Michael Nyqvist), an investigative journalist who worked with her in the earlier film and has turned into her ardent defender – and possibly more than just a defender, a romantic figure in her life. Their mutual affection was very interesting in the first film as it was an undercurrent, but has been suspended for the time being while Mikael is in a phase of casual intimacy with his boss, Erika Berger (Lena Endre). It is rumored that there exist two more Larsson novels in the works as they are purportedly in some forms of incompleteness, but even if they are not publishable, Lisbeth Salander is such an important character with three films behind her, and my estimate is we are bound to find out that there are some follow ups.
These films do not have to worry too much about logic. What lies at the core of the films is personal identity, the confrontation with the lawless state, and for everyone, a fantastic suffocating dread. The characters have to walk around in an atmosphere of terrifying gloom. It’s still unclear what precisely “The Section” conspiracy hopes to achieve. Most of us have an idea of it, but don’t expect knowing the answer will be able to pass an identification test. Neither would your commonsenses suggest, neither would Lisbeth nor Mikael.
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