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Directed by | |||
| Daniel Alfredson | |||
Writing credits(in alphabetical order) | ||
| Jonas Frykberg | screenplay | |
| Stieg Larsson | novel | |
Produced by | |||
| Stefan Baron | .... | co-producer | |
| Klaus Bassiner | .... | co-producer | |
| Susann Billberg-Rydholm | .... | line producer (as Susann Billberg Rydholm) | |
| Gunnar Carlsson | .... | executive producer | |
| Anni Faurbye Fernandez | .... | executive producer | |
| Wolfgang Feindt | .... | co-producer | |
| Jenny Gilbertsson | .... | associate producer | |
| Lone Korslund | .... | executive producer | |
| Jon Mankell | .... | coordinating producer | |
| Peter Nadermann | .... | executive producer | |
| Søren Stærmose | .... | producer | |
| Ole Søndberg | .... | executive producer | |
| Mikael Wallen | .... | executive producer | |
Original Music by | |||
| Jacob Groth | |||
Cinematography by | |||
| Peter Mokrosinski | |||
Film Editing by | |||
| Mattias Morheden | |||
Casting by | |||
| Tusse Lande | |||
Art Direction by | |||
| Maria Håård | |||
| Jan Olof Ågren | |||
Costume Design by | |||
| Cilla Rörby | |||
Makeup Department | |||
| Jenny Fred | .... | key makeup artist | |
| Love Larson | .... | special makeup effects artist | |
| AnnaCarin Lock | .... | assistant makeup artist (as Anna-Carin Lock) | |
| Oskar Wallroth | .... | assistant makeup effects artist | |
Production Management | |||
| Tobias Åström | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Kerstin Sundberg | .... | first assistant director | |
Art Department | |||
| Kennet From | .... | props | |
| Ola Handberg | .... | props | |
| John Lindquist | .... | assistant props master | |
| Doreen Möllerström | .... | property master | |
| Peder Svensk | .... | stand-by props | |
Sound Department | |||
| Niels Arild | .... | sound editor | |
| Niels Arild | .... | sound re-recording mixer | |
| Günther Friedhoff | .... | dialogue recordist | |
| Torben Greve | .... | foley artist | |
| Nalle Hansen | .... | sound designer | |
| Nalle Hansen | .... | supervising sound editor | |
| Anders Hörling | .... | sound | |
| Anne Jensen | .... | foley recordist/editor | |
| Andrea King | .... | foley artist | |
| Andreas Kongsgaard | .... | sound designer (as Andreas Kongsgaard Mogensen) | |
| Per Nyström | .... | dialogue editor | |
| Morten Pilegaard | .... | additional sound designer (as Morten Pilegaard Jespersen) | |
| James Shannon | .... | dolby sound consultant | |
| Camilla Mauritzson Skjaerbaek | .... | dialogue editor | |
| Mikkel Sørensen | .... | foley recordist | |
| Olle Tannergård | .... | additional sound designer | |
| Dan Widegren | .... | boom operator | |
Visual Effects by | |||
| Tobias Bach Hansen | .... | digital conform | |
| Andreas Hylander | .... | visual effects artist | |
| Linus Lindbalk | .... | matte painter | |
| Martin Madsen | .... | visual effects | |
| Ruslan Ogorodnik | .... | visual effects supervisor | |
| Sean Wheelan | .... | visual effects producer: FILMGATE | |
Stunts | |||
| Lars Hjelm | .... | stunts | |
| Deni Jordan | .... | stunts | |
| Kimmo Rajala | .... | stunt coordinator | |
| Kimmo Rajala | .... | stunt driver (uncredited) | |
Editorial Department | |||
| Ola Bäccman | .... | digital intermediate colorist | |
| Sigrid Strohmann | .... | Script Editor (ZDF Enterprises ) | |
| Nikolai Waldman | .... | on-line editor | |
Music Department | |||
| Peter Fuchs | .... | scoring mixer | |
| Rasmus Hansen | .... | orchestrator | |
| Martin Roller | .... | assistant scoring mixer | |
| Paul Talkington | .... | music coordinator | |
| Marian Turner | .... | orchestra manager | |
| Allan Wilson | .... | conductor: Slovak National Symphony Orchestra | |
Other crew | |||
| Camilla Ahlgren | .... | script editor | |
| Klas Ankelstam | .... | production assistant | |
| Maria Billberg | .... | location manager | |
| Peter Bille | .... | collection agent: European Collection Agency | |
| Henning Cronheim | .... | craft | |
| Henning Cronheim | .... | production assistant | |
| Line Winther Skyum Funch | .... | lawyer: Yellow Bird Films | |
| Peter Gustafsson | .... | consultant: Svenska Filminstitutet | |
| Alexandra Hummingson | .... | voice-over artist | |
| Hans Lönnerheden | .... | completion guarantor | |
| Tommy Saks | .... | insurance: Media Insurance Brokers | |
| Sigrid Strohmann | .... | script editor | |
| Martin Strömberg | .... | publicist | |
| Eva Svenstedt Ward | .... | story consultant | |
| Lotta Westberg | .... | script supervisor | |
Thanks | |||
| Anna Hedenmo | .... | thanks | |
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| The Girl with the Dragon Tattoo | The Girl Who Kicked the Hornet's Nest | The Professional: Golgo 13 | Salt | The Departed |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb Sweden section |
This follow-up installment by director Daniel Alfredson is a decent mystery thriller with expected action scenes and a string of plot points to keep your interest going. It provides more background information about our tenacious heroine Lisbeth's childhood and her legal guardians, mysterious police reports, and her couple of singularly close friends (Miriam and Paolo, both happened to also know kick-boxing and boxing). Of course, there is Millennium key journalist, Micke Blomkvist and his fellow investigative reporters, and most of the storyline we're following thread after thread, hoping (as everyone in the movie does) to get closer to Lisbeth. From the audience point of view, we get to see her, alright, tagging along with her varying guises to avert danger too close for comfort. She, too, wanted to get to the bottom of the alleged murders that were conveniently linked to her name. The whole movie feels like an expanded "Wallender" episode from the Swedish police-detective TV mystery series.*
"The Girl Who Played With Fire" gave us seemingly straightforward 'facts' as the multiple characters uncover - likened to a 'treasure hunt' (or musical chairs, if you so inclined from the number game of the targets by the villains) vs. providing dramatic highs and penetrating clues, suspenseful and emotional exciting turns as in "The Girl With the Dragon Tattoo," when we followed Lisbeth and Micke on their investigative furtive trails and cerebral deductions. What Danish director Niels Arden Oplev gave us in the first installment can very well stand on its own as a suspense dramatic thriller (which was true to the original Swedish title "Men Who Hate Women"). It's an excellent whodunit - quality entertainment, moving and satisfying wrap-up to the point of tear-jerker, in spite of some plot-required gritty (raw, not for the squeamish) scenes, which were actual arcs for the next two installments to lean on and refer to. Yes, I recall those particular cited scenes in "The Girl Who Played With Fire" when replayed and enhanced our empathy with Lisbeth's character. What this second installment did give us is preparing for the next and final movie in pursuit of Lisbeth's truth along with Micke staunchly standing up for her - so I kinda read the reviews already on IMDb for "The Girl Who Kicked the Hornet's Nest". Truly anticipate for the wide release of the 'Part 2' of the second installment and getting to the nitty-gritty rhyme and reason of our heroine Lisbeth and hope for the very best for her.
Do see "The Girl With Dragon Tattoo" if you haven't experience it yet. Yes, mind you, there are NFE (not for everyone) scenes, but they are necessary to the understanding of the heroine, Lisbeth Salander, and set up for the next two movies that follow in this worthwhile mystery trilogy from Sweden. Subtitles in English.
* "Wallender" is a popular Swedish detective mystery TV series I was lucky to catch now and then on KCSM (in Bay Area, California) on their 'International Mystery Monday nights' at 10 PM. They are usually intense, violent crime scenes without apology, political story lines, tons of threads (or red-herrings) that compel you to stay through till the end of the 90-minute episode. There's also a British "Wallender" mystery series based on the same Swedish police-detective Kurt Wallender, played by Kenneth Branagh (who's an executive producer for the program).
If you have a chance to catch the German-Austrian production of "Tatort: Crime Scene" - that's a favorite international mystery I highly recommend. Every TV episode is intelligently written and delivered, with crime scenes usually suggestive or chilling effects off-screen, and simply loved the pair of investigators Max Ballauf and Freddy Schenk (detective partners brilliantly played by Klaus J. Behrendt and Dietmar Bär - one's kinda skinny, the other's kindly plump). If good old-fashioned mystery style is your cup of tea, try "Maigret" the French, pipe piping burly of an endearing Parisian Inspector, impeccably portrayed by Bruno Crémer, who solves murderous puzzles ever so facile. Great sets, costumes and befitting music as we accompany Maigret, unhurriedly sauntering on police business, visiting the rural provinces of French locales.