They’re Back. Lisbeth Salander and Mikael Bloomkvist return this week to Plimoth Cinema in The Girl Who Played With Fire. The film will run for two weeks from July 30 through Aug. 12.
This same duo captivated audiences three months ago in The Girl With the Dragon Tattoo.
Played With Fire is one of the most anticipated films of the year. Those who haven’t heard about these novels or the films are probably living in a cave.
This is the second installment in the Millennium trilogy of mystery thrillers, written by Swedish author Stieg Larsson and turned into films. The books are a pop-culture rage and an international publishing phenomenon, making Larsson the world’s second best selling author last year.
You don’t have to have seen the first film to drop right into this second in the series but it helps given the fast pace and multiple characters. So Plimoth Cinema is bringing back Dragon Tattoo and running both films simultaneously, one in each of its theaters. Maybe there are even some die-hard Larsson fans that will see the first film at 4:30 and the second at 7 p.m.
Though this second film has a new director (Daniel Alfredson) and a new screenwriter (Jonas Frykberg), it is another dark and violent, edge-of-seat, nail-biting story. One of the great pleasures of these ingenious mysteries is that they are thematically unique.
Alfredson describes the first novel as a mystery story and the second as a kind of action adventure.
Noomi Rapace, as Lisbeth, is as electrifying and compelling as any movie character we’ve seen in years. Until now, Rapace was little known outside Sweden and much of her career was in Swedish TV. She brings to this film the same feminist energy we saw in Dragon Tattoo.
Alfredson describes Lisbeth as a contemporary fairy tale heroine and even considers her a stand-up role model for some women.
In Played With Fire Lisbeth’s horrifying past comes back to haunt her. Though Lisbeth remains enigmatic, we learn more of why she is how she is. We also learn about unfinished business that some sinister forces have with her.
Lisbeth has returned to Stockholm from her island hideaway to deal with some of her own unfinished business. One matter involves Bjurman, the man who raped her in the first film. Among other things, Lisbeth reminds him that if he removes the lurid scars of vengeance she gave him in the first film she would return to inflict even worse.