Damnation (2009)

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Movie
German title damnation
Original title Flickan som lekte med elden
Country of production Sweden , Denmark , Germany
original language Swedish , French
Publishing year 2009
length Theatrical Version: 124 minutes,
Extended Cut: 178 minutes
Age rating FSK 16
JMK 14
Rod
Director Daniel Alfredson
script Jonas Frykberg
production Søren Stærmose ,
Jon Mankell
music Jacob Groth
camera Peter Mokrosiński
cut Mattias Morheden
occupation
chronology

←  Previous
veneer

Successor  →
forgiveness

Damnation (original title: Flickan som lekte med elden , literal translation: The girl who played with fire ) is the film adaptation of the novel of the same name by Stieg Larsson , the second part of the Millennium trilogy and thus the continuation of the blindness . The director was the Swede Daniel Alfredson . The film was released in Scandinavian cinemas on September 18, 2009. The film opened in Germany on February 4, 2010. The successor and thus the third and final part of the Millennium Trilogy is called Forgiveness .

action

Lisbeth Salander went on a long luxury vacation with the money that she has appropriated by delusion . After returning to Sweden, she buys a luxury apartment in Stockholm and learns that her mother has since died.

When she hacks her guardian Bjurman's computer, she notices that the lawyer wants to have a tattoo removed. Lisbeth assumes it is the tattoo she put on his stomach. She breaks into the guardian's apartment, searches his records and finds that he has not written the monthly reports on her good behavior either. She cannot find her own file with the admission to psychiatry . Lisbeth holds his own pistol under the lawyer's nose and tells him to obey the rules of the game that she has established.

A blond giant meets with Bjurman the next day and is interested in the Salander file. After Lisbeth's visit to his apartment, Bjurman offers the file in exchange for the video that shows him raping Lisbeth.

Lisbeth meets with her former guardian Palmgren, who has suffered a stroke and, contrary to her assumption, is still alive.

Journalist Dag Svensson has researched Russian-Swedish girl trafficking and offers this material to Millennium magazine . Apparently, members of the Swedish Security Police were among the suitors . It also contains references to a certain "Zala". Soon after, Mikael finds Dag and his girlfriend murdered in their apartment. The police suspect Lisbeth because they find her fingerprints on the murder weapon . This belongs to Bjurman. When the investigating officer Modig wants to question the lawyer Bjurman, she finds him murdered. Here, too, Lisbeth is suspected of murder.

Mikael Blomkvist tries to find Lisbeth before the police investigators. To do this, he visits the kick-boxer Paolo, with whom Lisbeth has trained, and asks him to establish contact with Lisbeth through Lisbeth's lover Miriam "Mimmi" Wu. Lisbeth had given Mimmi the right to use her old apartment, in which she was also registered. On the street in front of Mimmi's apartment, Paolo witnesses how a blond giant kidnaps Mimmi despite fierce resistance. Paolo follows the kidnapper's vehicle to a lonely barn, where he watches how the giant tries to extort Lisbeth's whereabouts from Miriam by force. He tries to intervene. The blonde has enormous strength and is completely insensitive to pain. He knocks Miriam and Paolo unconscious and sets the barn on fire. Paolo and Mimmi wake up just in time and escape unnoticed at the last moment.

Lisbeth suspects her files are in the attorney's weekend house. She goes there by bus. The blonde has already searched the house without success. However, she can discover her files in the attic. It also contains information about her father Zalachenko alias Zala . In the meantime, Blomkvist also learns that this is her father during a visit to Palmgren. Gunnar Björck, a former security policeman who was a client of the girl trafficking ring and who supports Blomkvist in order to avoid media coverage of him, previously told Blomkvist that Zalachenko was a former Russian agent of the GRU who had been granted asylum by the Swedish government. As Lisbeth is about to leave again, two rockers hired by the blonde arrive on the property with their motorbikes, who are supposed to burn down the house. Lisbeth distracts one of them with pepper spray and stretches him to the ground with a kick in the genitals. The other joins and is incapacitated by Lisbeth with a stun gun in the genital area. The first got up again. Lisbeth shoots him in the foot.

Lisbeth follows the blonde's trail. She uses the license plate to identify a car rental company and forces an employee to hand over the rental data of the vehicle that the giant used. She learns that his name is Ronald Niedermann, drives alone to her father's presumed hiding place - an old farm - and breaks into his father's house armed with a pistol. There, however, she is overwhelmed by Niedermann, who has been warned by a motion detector on the property.

Meanwhile, Mikael has found Lisbeth's new luxury apartment and discovered evidence there that Lisbeth is on her way to her father's farm.

During a conversation with her father, Lisbeth learns that Niedermann is her half-brother. Zalachenko only speaks of Lisbeth's mother as a whore and has no fatherly feelings for his daughter. At her father's instructions, Niedermann digs a shallow grave for her, and both lead her outside to shoot her there. Shortly afterwards she manages to escape, but her father kills her with several shots; Niedermann pushes them into the excavated grave and covers it up. However, after several hours she was able to free herself and the next morning lured her father into a shed, where she attacked him with an ax and took the pistol from the seriously injured man. Barely able to move and covered in blood, she can fire a few more shots at Niedermann. However, he flees when Mikael drives his car into the yard. Lisbeth is transported away in a rescue helicopter . Her father is also receiving medical care.

Frames

The film was originally supposed to last almost three hours and was not intended for the cinema. Ultimately, however, the decision was made to show the film in the cinema, but shortened it to streamline the plot. The original version was released on DVD in Sweden and the Netherlands and broadcast as a two-part on television by ZDF . In this version, which is about an hour longer and was published as an extended version , some elements from the book that were missing in the theatrical version have been integrated again.

Deviations from the book template

The screenwriter has shortened and tightened the content of the book. There are a few small deviations from the book:

  • The Caribbean cyclone is not mentioned, nor is Lisbeth's affair with George.
  • Internal difficulties and involvement in the police investigation team are not shown.
  • According to the novel, the lawyer Bjurman wrote the monthly reports on Salander's good behavior, but he developed increasing hatred of Salander and wanted to kill her. In the film, Salander realizes that he has not written the reports and tries to force him to obey the rules of the game.
  • Likewise, in the book out of hatred for Salander, the lawyer Bjurman contacts the tall, blonde man who is supposed to kill her, while in the film the blonde contacts Bjurmann without being asked to find Salander.
  • Paolo Roberto is a famous heavyweight boxer in the book. In the film he is portrayed as a kick boxer.
  • Paolo can briefly incapacitate the blond, tall man by striking a beam so that he can flee with Miriam Wu. Then the blonde burns the barn down so that no DNA traces are left that could later be found by the police. In the film, the blonde knocks them out and burns the barn down. At the last moment, however, the two can still flee from the flames unnoticed.
  • After Lisbeth injured her father with an ax, she did not fire any shots at Niedermann. He runs away when he sees her and thinks that she is a demon . Niedermann only meets Mikael on the country road, where he overpowers him and ties him to a street sign.

Film bug

  • In contrast to the book, according to two documents shown in the film (driver's license copy at 1:29: 10-12 and rental agreement at 1: 29: 13-15 of the cinema version), the blonde is called Niederman. In the credits (2:00:31) it is Niedermann again.

Reviews

Noomi Rapace , actress in Lisbeth Salander, at the 2007 San Sebastián Film Festival

Ulrich Kriest ( film-dienst ) compared the plot with the Sjöwall / Wahlöö thrillers of the 1970s and pointed out the “disorienting effect of the mobile handheld camera”. At the same time, the film would aesthetically tie in with the “calculated gloom” of the first part. Kriest criticized the adaptation, which decided "far too quickly". The political dimension of the novel is "faded out in favor of the family history". At the same time, the investigative journalism and the hacking skills of the female main character are presented too effortlessly.

Peter Henning ( Die Zeit ) praised the film as "fast-paced entertainment cinema". The aesthetics in the film are different than in the first part. Director Alfredson rely "entirely on the driving force of the plot". The adaptation follows the novel "unpretentiously", detoxifying the book "cleverly where the author threatens to lose himself too detail obsessively in his enlightenment claims and his swipes at the Swedish establishment infiltrated by corruption and human contempt".

Rainer Gansera ( Süddeutsche Zeitung ) also remarked that, as in the first part, the "abundance of characters and the hugely intricate storylines" are being evaporated. Director Alfredson remains "true to the narrative and atmospheric core of the original" and vacillates between "fabulous TV crime dramaturgy and the search for strong, genre-like cinema images." By concentrating on the figure of Lisbeth Salander, the film draws a "absorbent tension".

Web links

Individual evidence

  1. ^ Certificate of Release for Doom . Voluntary self-regulation of the film industry , January 2010 (PDF; test number: 121 076 K).
  2. ↑ Age designation for damnation . Youth Media Commission .
  3. ↑ Damnation. Kino Zeit, accessed January 9, 2010 .
  4. ↑ cf. Criticism by Ulrich Kriest in film-dienst 3/2010 (accessed via Munzinger Online )
  5. ↑ cf. Henning, Peter: Moral as an investment at zeit.de, January 28, 2010 (accessed on June 2, 2010)
  6. ↑ cf. Gansera, Rainer: The zombies are the others at sueddeutsche.de, February 4, 2010 (accessed on June 2, 2010)