Classic Films - Reviews and Reflections with Stuart Fernie
Oct 9, 2026 · 7 min · 5 segments
Send us Fan Mail Discussion and analysis of characters and themes in the original Swedish version of “The Girl with the Dragon Tattoo” starring…
The Girl with the Dragon Tattoo is a Swedish neo-noir thriller that has two major assets.
Its storyline of topical relevance concerning the abuse and murder of young and vulnerable women by wealthy or influential men who operate apparently unchecked by law enforcement, and the film's enigmatic heroine, or anti-heroine, who plays with convention and reverses stereotypes.
Wealthy businessman Henrik Wanger seeks information about the disappearance or, he suspects, murder of his niece Harriet some 40 years previously, and he hires famed journalist Mikael Blomqvist to investigate.
Mikael is a man of integrity and principle, who has been framed by a corrupt businessman and who is awaiting a prison sentence for libel.
He pursued an investigation into mega-wealthy businessman Hans-Erik Wennerstrom, but he is outplayed by Wennerstrom, who feeds Mikael false information that allows Wennerstrom to take Mikael to court, where he is sentenced to a few months' imprisonment, though that is deferred for a short time.
Wennerstrom is clearly unscrupulous, devious and willing to sacrifice the freedom of others in order to further his cause and to protect himself, and this episode constitutes an introduction to the themes of abuse of power and the inadequacy of the justice system that will be further explored in the film.
Eventually, Mikael is joined in his investigation by Lisbeth Salander, a troubled, rebellious and intelligent young woman with a checkered past, who has highly developed skills in the field of cyber security, poorly developed social skills, and is utterly determined to see justice done, at least in her eyes.
Mikhail's investigation into Harriet's disappearance quickly reveals Nazi connections within the Wenger family, as well as links to unsolved murders.
It transpires that Harriet was brutally abused by her father Gottfried and her brother Martin, and she uncovered links to a number of murders, putting her own life in danger, so she disappeared or escaped, leading her uncle Henrik to believe she may have been murdered.
Many years later, and in a situation that echoes that of Harriet, Lisbeth is savagely abused and raped by a man in a position of trust and responsibility, her legal guardian assigned by the courts, who is willing to exploit his status and influence to indulge personal desires at the expense of those in his care.
It appears that, despite the facade of civilisation, ideals and equality in society, misogyny, brutal abuse and criminality are alive and well across all strata of society, and this is confirmed and emphasised by the experience of both Harriet and Lisbeth Salander.
The clear implication is that morality and ethics need not apply, as some rich men or some in positions of authority act as they wish, gratifying themselves without considering the consequences for or impact upon their victims.
And the law, there to protect the innocent and the abused, applies only to those willing to conform, or those not powerful or affluent enough to cover their tracks.
Given this premise, our film may fairly be called a film noir, with Mikael and Lisbeth representing conventional idealism and personal accountability, respectively.
The Girl with the Dragon Tattoo is a Swedish neo-noir thriller that has two major assets.
Its storyline of topical relevance concerning the abuse and murder of young and vulnerable women by wealthy or influential men who operate apparently unchecked by law enforcement, and the film's enigmatic heroine, or anti-heroine, who plays with convention and reverses stereotypes.
Wealthy businessman Henrik Wanger seeks information about the disappearance or, he suspects, murder of his niece Harriet some 40 years previously, and he hires famed journalist Mikael Blomqvist to investigate.
Mikael is a man of integrity and principle, who has been framed by a corrupt businessman and who is awaiting a prison sentence for libel.
He pursued an investigation into mega-wealthy businessman Hans-Erik Wennerstrom, but he is outplayed by Wennerstrom, who feeds Mikael false information that allows Wennerstrom to take Mikael to court, where he is sentenced to a few months' imprisonment, though that is deferred for a short time.
Wennerstrom is clearly unscrupulous, devious and willing to sacrifice the freedom of others in order to further his cause and to protect himself, and this episode constitutes an introduction to the themes of abuse of power and the inadequacy of the justice system that will be further explored in the film.
Eventually, Mikael is joined in his investigation by Lisbeth Salander, a troubled, rebellious and intelligent young woman with a checkered past, who has highly developed skills in the field of cyber security, poorly developed social skills, and is utterly determined to see justice done, at least in her eyes.
Mikhail's investigation into Harriet's disappearance quickly reveals Nazi connections within the Wenger family, as well as links to unsolved murders.
It transpires that Harriet was brutally abused by her father Gottfried and her brother Martin, and she uncovered links to a number of murders, putting her own life in danger, so she disappeared or escaped, leading her uncle Henrik to believe she may have been murdered.
Many years later, and in a situation that echoes that of Harriet, Lisbeth is savagely abused and raped by a man in a position of trust and responsibility, her legal guardian assigned by the courts, who is willing to exploit his status and influence to indulge personal desires at the expense of those in his care.
It appears that, despite the facade of civilisation, ideals and equality in society, misogyny, brutal abuse and criminality are alive and well across all strata of society, and this is confirmed and emphasised by the experience of both Harriet and Lisbeth Salander.
The clear implication is that morality and ethics need not apply, as some rich men or some in positions of authority act as they wish, gratifying themselves without considering the consequences for or impact upon their victims.
And the law, there to protect the innocent and the abused, applies only to those willing to conform, or those not powerful or affluent enough to cover their tracks.
Given this premise, our film may fairly be called a film noir, with Mikael and Lisbeth representing conventional idealism and personal accountability, respectively.
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