| Photos (See all 23 | slideshow) | Videos (see all 8) |
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 F. Lindquist | .... | assistant props master (as John Lindquist) | |
| 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 | |||
| Dag Bodin | .... | technical support | |
| Ola Bäccman | .... | digital intermediate colorist | |
| Per Legelius | .... | on-line editor | |
| Sigrid Strohmann | .... | Script Editor (ZDF Enterprises ) | |
| Nikolai Waldman | .... | on-line editor | |
Music Department | |||
| Rasmus Bosse | .... | orchestrator (as Rasmus Hansen) | |
| Peter Fuchs | .... | scoring mixer | |
| 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 | |
| Annica Bellander | .... | marketing manager | |
| 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 | |
| Peter Gustafsson | .... | film consultant | |
| 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 |
There's an important detail about the film version of The Girl Who Played with Fire (in fact, of the whole Millennium trilogy) that needs to be known in order to understand why some (myself included) perceive this as the most flawed installment in the series: originally, all three adaptations were shot for Swedish television, with six 90-minute episodes condensing Stieg Larsson's remarkable prose. Late in the game, it was decided to give The Girl with the Dragon Tattoo a theatrical release, albeit in a shortened version (half an hour was chopped off), and when that became the highest-grossing Swedish film of all time, the other two chapters received the same treatment, with the uncut versions held in storage until spring 2010. In the case of the second film, 60 minutes went missing in the TV-to-cinema transition, and it shows.
Picking up from the first episode, we catch up with Mikael Blomkvist (Michael Nyqvist) enjoying his newfound freedom and restored reputation, while troubled hacker Lisbeth Salander keeps mostly to herself. That is, until Millennium magazine enlists the help of two new collaborators for a special issue about sex trade, and the two are found dead, much like Lisbeth's sadistic guardian, Nils Bjurman. Evidence points to Salander being the killer, and with no way to defend herself she ends up on the run, desperate to prove her innocence, while Mikael tries to help her as much as he can from the office, eventually realizing he's in much bigger trouble than last time.
Based on the summary alone, The Girl Who played with Fire should be as great a thriller as its predecessor. That it isn't is essentially up to a couple of factors: firstly, new director Daniel Alfredson (brother of Let the Right One In's Tomas), who replaced Niels Arden Oplev for the last two bits of the trilogy, occasionally fails to capture the same raw atmosphere as in The Girl with the Dragon Tattoo; secondly, the aforementioned removal of one hour's worth of footage makes the whole thing feel a bit rushed, particularly in regards to new characters who are hastily introduced and then dispatched just as quickly. Additionally, the extended cameo of boxer Paolo Roberto, playing himself, will make little sense to non-Swedish viewers, though it is faithful to the book and allows for one kick-ass fight scene. As for the final twist, what came off as a shocking revelation on the written page loses a lot of its impact on screen, due in no small measure to Oplev virtually giving it away in the first film.
That the film manages to make any kind of impression is all thanks to one person: Noomi Rapace. Sure, Nyqvist's work is fun to watch, and the supporting players do their job well, but Rapace towers above all of them with her harried, mesmerizing portrayal of a rebellious yet strangely vulnerable woman who just won't take any crap from anyone. There are rumors of a possible Oscar campaign for her work in the trilogy (though if they had to single out a specific installment, the logical choice would be The Girl with the Dragon Tattoo), and she really deserves it, not least for her ability to show off her dramatic skills even in a moment as irrelevant as a gratuitous girl-on-girl scene (again, faithful to the book) that has clearly been added to compensate for occasional shaky plot points.
In short, The Girl Who Played with Fire is a great acting lesson and a fun thriller, but little more. A shame, given the high standards set by Lisbeth's first cinematic adventure.
6,5/10