Alex Moss EditorSubstituting intrigue for courtroom drama the final film in the Millennium Trilogy wraps things up nicely.
Substituting intrigue for courtroom drama the final
film in the Millennium Trilogy wraps things up nicely.
With the American
version of The Girl With The Dragon
Tattoo currently being molded by David
Fincher it is nice to see the trilogy concluded in its original Swedish
origins. Based on Stieg Larrson’s
huge selling set of books The Girl Who Kicked The Hornet’s Nest will be, in
theory until Larrson’s estate is settled, the final film in the series.
Having been shot
in the head we find Lisbeth Salander (Rapace)
in hospital on attempted murder charges. As the corrupt government officials
look to silence Salander for what she knows about her defected-spy-father
Zalachenko (Staykov) by having her
committed to a mental asylum, Salander finds she has a champion in the form of
crusading journalist Mikale Blomkvist (Nyqvist).
It is worth
noting that the filmic versions of The Millennium
Trilogy were originally shot for Swedish television. As such it is
testament to Larrson’s popular series that the films have gained such a huge
following across the globe. Crucial to this is the fascinating anti-hero of
Salander. Rebellious and reclusive it is hard not to be drawn to her strength
and guile in any given situation. It is as a result of this though that
Hornet’s Nest is the least enthralling of the films as it sees Salander trapped
in a hospital room for much of the running time.
Furthermore, we
do not learn anything new about Salander’s past and the atrocities she has
endured. In many ways the bulk of the information given feels like a
‘Previously on The Girl Who…’ scenario. With this in mind it is imperative to
have seen the preceding installments of the story, or at the very least have
read the books. The films have been meticulous in keeping faithful to Larrson’s
source material and there is no exception here.
Once the court
case does finally get under way it is fun to behold Rapace’s steely-eyed-gaze
remain mute yet evoke so much. Behind those dead eyes is an ability to smile as
her attackers crumble under the sheer force of evidence she has collected
against them. Nyqvist meanwhile continues to be the obvious lead to the piece
but is never given a chance to be anything other than single minded in his
mission to free Salander. All well and good, but with her being so cold towards
him you do sometimes question his motivation.
Certainly a must
see for fans of the books and films alike, The Girl Who Kicked The Hornet’s
Nest does well in tying up all the loose ends established in the previous
films. However, it would benefit from a tighter script and more cinematic
execution. It won’t sting the way it
should but with Rapace in the lead it always remains intriguing.
