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In this film image released by Sony Pictures, Rooney Mara, left, and Daniel Craig are shown in a scene from "The Girl With The Dragon Tattoo." (AP Photo/Sony, Columbia Pictures, Merrick Morton)
Merrick Morton
In this film image released by Sony Pictures, Rooney Mara, left, and Daniel Craig are shown in a scene from “The Girl With The Dragon Tattoo.” (AP Photo/Sony, Columbia Pictures, Merrick Morton)

D irector David Fincher’s deluxe edition of “The Girl with the Dragon Tattoo” is the most coldly compelling version yet of the tale dreamed up by the late Stieg Larsson, whose “Millennium” trilogy of pulp novels remains the time-killer of choice in airports, elevated trains and, when the weather’s right, beaches around the world.

Every composition, musical note, furtive glance and glint of metal (whether a nipple ring or gleaming instrument of torture) serves a story purpose or adds another chilly textural detail. As with Fincher’s “Se7en” and “Zodiac,” we’re in the land of rampant psychopathology in a world nearly beyond saving. This was the atmosphere of “The Social Network,” Fincher’s previous film, as well. Except that Facebook founder Mark Zuckerberg was only making a killing, not actually killing.

Larsson’s novels have already been filmed, in Swedish, in three separate features (shrewdly acted, indifferently directed). Fincher’s English-language production, starring Daniel Craig as investigative reporter Mikael Blomkvist and Rooney Mara as ace researcher and heavily pierced bisexual fantasy pin-up Lisbeth Salander, was shot in many of the same forbidding Swedish locales used in the earlier films. With Fincher behind the camera, the imagery is as crisp and fastidious as it gets.

If there’s something missing from this project, scheduled to be the first in a three-film juggernaut, it’s actually a pretty big thing: a reason for being. I confess to having had enough of this story, these characters, this peculiarly popular narrative blend of sexual violence and serial slaughter.

All roads, icy and grim, lead to a rich extended family led by Henrik Vanger (Christopher Plummer), whose relatives, living on the same remote island, have a tremendous amount to hide including Nazism, neo-Nazism and hideous personal peccadilloes. By the end, “Silence of the Lambs” style, we’re trapped in the lair of the worst of the worst.

The film is beautifully cast. Supporting ringers such as Plummer, Steven Berkoff (a business associate), Stellan Skarsgard (one of the relations) and Robin Wright (as Blomkvist’s magazine colleague and lover) evoke persuasive shades of righteousness and evil, depending, in a workable melange of Scandinavian and British dialects. Craig’s journalist serves as the humble, purposeful backdrop to Mara’s more outre character.

“Dragon Tattoo” knows precisely how to achieve its look, rhythm, sound and spirit. It’s extremely well made by a genuine and reliable talent. But I thought he was done with this sort of thing. Oh, well. If you needed another version of Larsson’s proven combination of prurience and payoff, here you go.


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