David Fincher’s big-star, big-budget, English-language remake of the 2009 Swedish film The Girl with the Dragon Tattoo was certainly not necessary from an artistic point of view. The original film, directed by Dane Niels Arden Oplev, was extremely well-acted and well-made. For fans of the novel, it is iconic.
The obvious motive for the remake, of course, was money. Swedish Communist Stieg Larsson’s novel and its two sequels are among the world’s best-selling novels, but English-speakers, Americans in particular, just don’t go for subtitled foreign films.
But is the new film an improvement on the old? Not unless you consider magnifying the original’s most distasteful elements to be an improvement. Personally, I found the Swedish version’s depictions of violence and sadism distasteful enough. Fincher is a talented director, with first-rate cinematographers, but in the end, this just comes off as a copy of Oplev’s original. It has no life of its own. Fincher assembled a lot of big name actors, but none of them overshadow the performances in the first film. Furthermore, in the remake, Stellan Skarsgård is far less chilling as serial killer Martin Vanger than Peter Haber in the Swedish version.
The only real improvement is the music. Frankly the original movie’s score made no impression on me. Not so with the Trent Reznor/Atticus Ross soundtrack for the remake, particularly the riveting version of Led Zeppelin’s “The Immigrant Song” played under the Maurice Binder-like opening credit sequence.
But in addition to the billions Hollywood hopes to rake in from Stieg Larsson’s trilogy, they are also counting on a tremendous propaganda boon, for The Girl with the Dragon Tattoo is one of most evil, stupid, politically-correct, and anti-white books ever written—so evil, in fact, that it must have stung some egos in Hollywood that a Swedish company beat them to it. I would almost say that this remake is a point of honor, if that meant something to reptiles.
I have dealt with the ideological lies and distortions of The Girl with the Dragon Tattoo at length in my review  of the Swedish movie. Here are a few bullet points:
- Stieg Larsson portrays Sweden as a country rife with violence and sadism toward women, when in fact Swedish women are by all objective standards some of the best off women in the world—thanks, of course, to the sufferance of Swedish men.
- Virtually all rape and violence against women in Sweden is committed not by Swedish men, but by non-white immigrants, mostly Muslims, whose immigration is being sponsored by leftists like Stieg Larsson. In Larsson’s world, however, the only immigrants are women who are raped and killed by Swedes.
- Sweden is one of the most left-wing countries in Europe, where small, poorly-funded nationalist groups are persecuted by Marxist thugs and hackers, including followers of Stieg Larsson. Larsson’s Sweden, however, is menaced by wealthy, powerful Nazis who stalk and kill Jews for pleasure.
It is a tribute to Larssen’s skill as a storyteller that such an inverted world does not seem merely real, but compelling. It is a tribute to both Niels Oplev and David Fincher that such a vision has been brought to the screen twice without seeming like a parody of left-wing paranoia and hysteria. But all the obvious talent, even virtuosity, that went into the book and movies is just candy coating on rat poison.
The Girl with the Dragon Tattoo in all its incarnations is the most repulsive and evil story in recent memory. No white person should pay a nickel to see this movie, which is an insult to our race produced by people who hate us. By pitting white women against white men, turning white children against their elders, and breaking down the barriers to race replacement by non-white immigration, The Girl with the Dragon Tattoo contributes to a far greater crime than the serial murders of Gottfried and Martin Vanger, namely the genocide of the white race.
In short, the true story behind this movie is far more horrifying than the false story in it.
Forget an R-rating for sex, nudity, torture, and graphic violence. For Marxism, feminism, ethnomasochism, xenophilia, political correctness, all-round stupidity, scary Hollywood “Nazis,” and anti-white genocidal intent, I rate this movie Zyklon-B.