Girl in the Spi­der’s Web tan­gled in tropes.

Gulf Times Community - - FRONT PAGE - By Katie Walsh

What can’t Claire Foy do? She’s the Queen of Eng­land (on Net­flix’s The Crown), Mrs Neil Arm­strong (in First Man) and for her next trick, she’s slipped into the cy­ber-goth trap­pings and jet black bowl cut of the girl with the dragon tat­too, Lis­beth Sa­lan­der, in The Girl in the Spi­der’s Web: A New Dragon Tat­too Story.

Her Lis­beth doesn’t have the fierce fragility of Rooney Mara in David Fincher’s The Girl with the Dragon Tat­too, or the Nordic flinti­ness of Noomi Ra­pace, who played the char­ac­ter in the Swedish film tril­ogy. Foy’s Lis­beth is pas­sion­ate and com­pas­sion­ate, de­spite her se­vere styling and frosty de­meanour. Early on, her famed dragon tat­too is sliced open in an at­tack, and for the rest of the film, de­spite su­per­glue and sta­ples, it seeps blood. It’s the per­fect en­cap­su­la­tion of this Lis­beth Sa­lan­der, a bleed­ing heart whose wounds have never closed.

The Girl in the Spi­der’s Web is the fourth book in the Mil­len­nium series, and the first not writ­ten by Stieg Lars­son, who died in 2004. David Lager­crantz wrote the new in­stal­ment, which has been adapted by di­rec­tor and co-writer Fede Al­varez, Steven Knight and Jay Basu. Al­varez made a splash a cou­ple of years ago with his high-con­cept hor­ror flick Don’t Breathe, wherein a blind man stalks a trio of teens who broke into his house. Those self-im­posed lim­i­ta­tions served his cin­e­matic sto­ry­telling well, and with all re­stric­tions lifted in The Girl in the Spi­der’s Web, chaos reigns, though it’s not all that com­pelling.

The plot is a clas­sic “thinga­ma­jig” story, which be­dev­ils the Bond fran­chise, the Mis­sion: Im­pos­si­ble films and most su­per­hero movies, so it’s some­what ap­pro­pri­ate a soft re­boot/se­quel to a film about a dis­tinc­tive cru­sader would fall prey to this sce­nario. Lis­beth has to keep a (insert world-end­ing de­vice here) out of the hands of (insert ne­far­i­ous crim­i­nal or­gan­i­sa­tion here). It’s a tale as old as cin­e­matic time.

The twist is the ne­far­i­ous crim­i­nal or­gan­i­sa­tion has a deeply per­sonal con­nec­tion to Lis­beth’s past, and her quest rips open deep, old emo­tional wounds. Lis­beth’s sta­tus as a sur­vivor of sex­ual as­sault has al­ways been a huge part of her story, and in Spi­der’s Web, that is brought to the fore­front, as­sert­ing that rape is what makes women bit­ter and vi­o­lent. The film wants to deal with old trauma and the con­se­quences of not fac­ing that, but the way it’s de­ployed here is re­duc­tive, par­tic­u­larly with re­gard to Lis­beth and her sis­ter, Camilla (Sylvia Hoeks), who is only de­fined by her past pain.

But for all of the film’s short­com­ings, which in­clude an overly com­pli­cated, un­in­ter­est­ing plot, baf­fling fight scenes shot from com­pletely in­sane an­gles and, most egre­giously, the com­plete waste of Vicky Krieps and Claes Bang, Foy is truly do­ing the work. She is both metic­u­lous and earnest as Lis­beth, giv­ing the char­ac­ter a big, beat­ing heart un­der­neath her black hood and cre­ative eye makeup.

Lis­beth loves women, reveres wom­an­hood and tor­tures men who hurt women. She’s the kind of hero we need right now, and her re­turn to the screen is wel­come. It’s a shame this story sends her skit­ter­ing off chas­ing en­crypted lap­tops and not true bad guys. Maybe next time. —TNS

Newspapers in English

Newspapers from Qatar

© PressReader. All rights reserved.