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It’s hard to describe The Girl With the Dragon Tattoo without giving away major plot points that would spoil twists and turns to audiences that haven’t already devoured Stieg Larsson’s novel of the same name. To those who already know the story, I can tell you that David Fincher’s adaptation is (mostly) loyal, with a couple of changes that actually function as surprise treats for those who have read the novel. To those who aren’t familiar with the story, I can tell you to buckle your seatbelt. The imagery that unfolds over the opening credits of the film, set to Trent Reznor’s take on “Immigrant Song,” is intense, and edgy, and strangely intriguing — which is perfectly fitting for the film.
Daniel Craig plays Mikael Blomkvist, a charismatic journalist who’s been commissioned by an elderly man named Henrik Vanger (an excellent Christopher Plummer) to solve a seemingly impossible mystery: to find out who murdered his great-niece over 40 years ago. Once Blomkvist accepts the challenge against his better judgment, he unwittingly starts digging up old family secrets that prove to be much more dangerous than what he’d expected.
When Blomkvist hits a roadblock in his digging, he enlists the help of a research assistant, the titular girl with the dragon tattoo. She’s better known as Lisbeth Salander (Rooney Mara), a leather-clad, skinny girl who is as brilliant as she is brusque. She’s guarded (for a very good reason), but she can’t say no to Blomkvist’s offer to track down “a killer of women.” The unlikely chemistry between Craig and Mara is surprising, fun, and manages to eke out a few light moments (particularly when Salander is scoffing at Blomkvist’s computer skills).
To find out more about why the film is great, just keep reading.
With that said, there’s a reason why Fincher touted his film as the “feel bad movie of Christmas” (even though it was only released post-Christmas in Australia). Larsson’s novel takes sadistic, often jaw-dropping turns, and Fincher ensures that his film will have the same unsettling effect. He doesn’t hold back, as certain scenes will have you squirming in your seat. Though it’s even more graphic than what I was prepared for, the emotional toil only makes you want the hero and heroine of the film to triumph all the more.
And triumph they do: Mara is mesmerising as Salander, from her accent to her facial expressions to her few moments of comedic timing. She is fully immersed in the pierced, antisocial hacker: you won’t find any traces of the fresh-faced girl we met in The Social Network. Mara brings a tiny bit more emotion to the film than the Salander in the novel, which proves to be an important device as we no longer have the luxury of seeing inside the psyche of such a complex character.
What makes The Girl With the Dragon Tattoo such a satisfying thriller are the additional touches: the unsettling, snow-covered setting in Hedeby island off the Swedish mainland is creepy for its isolation and howling winds alone. The score plays to your emotions without hitting you over the head with an overly haunting soundtrack. But ultimately, it’s Mara’s performance that will keep your knuckles white and your eyes glued to the screen.
Photos courtesy of Sony Pictures
Article source: http://www.popsugar.com.au/Girl-Dragon-Tattoo-Movie-Review-Starring-Rooney-Mara-Daniel-Craig-21303650
But a quick flick of the wrist hid the piercing inside Backlund’s nostrils, and once her tattoo heals, sensible work slacks will cover the artwork. School is back in session Tuesday, after all.
“People are quick to judge,” Backlund said. “I’m a high school teacher, and my students have no idea that I’m tattooed.”
The inked walk among us. Organizers say that more than 10,000 aficionados — twice as many as last year — are expected to buy a $20 ticket to the convention before it ends Sunday evening.
There are more than 40 tattoo conventions nationwide each year, and Pew Research Center data show that 40 percent of people age 26 to 40 have ink, compared with 36 percent of people age 18 to 25. But a mainstream discomfort with the tattoo culture is still pervasive, perhaps most evidenced by a growing industry of companies offering to erase the ink for those hoping to look more professional and perhaps less criminal.
“Tattoos are more widely accepted today,” expo organizer Greg Piper said, “but it still remains a subculture. It’s still something you want to hide from your employer.”
At 6-foot-6, it’s hard to imagine an imposing figure like Piper hiding much of anything. But Piper, 41, insists that his sleeves come on when it’s time to talk to industry peers about the business of running his Manassas-based shop, Exposed Temptations Tattoo. Piper said covering up can mean the difference between good and bad attention, even if it’s misguided.
“You see that guy walking out of the Capitol building in a suit?” Piper said. “He comes to us. Tattooing is an expression of our individuality, not an indication of our tax bracket or our careers.”
Marion Esposito, 44, of Leesburg was a latecomer: She got her first tattoo, an edelweiss flower on her left calf, eight months ago. Even though her reasoning for the blossom is sentimental — to mark her German heritage — Esposito is familiar with the rebellious reputation tattoos can carry. She came to the expo so an artist could add more depth to the flower.
“You’re portrayed to be a certain way,” she said. “I’m Christian, and I think people in churches might tend to be more standoffish.”
Misconceptions about deviant behavior aside, it’s what’s underneath the buttoned-up exterior that fuels America’s long-running fascination with being inked. The unconventional glamour and the desire to mark our pasts in a secret place fuels our curiosity. There is perhaps no better example of this than the pinup, the woman who saw soldiers through World War II, first on posters and then on their biceps. At the Marriott, women dressed as pinups sold buttons and mango salsa in the name of animal advocacy: They call themselves Pinups for Pitbulls.
Nearby, a few booths down from a television production company searching for eventgoers wishing to cover up embarrassing tattoos, former “LA Ink” reality television star Amy Nicoletto posed with fans. The now-canceled cable show, she said, has helped push this culture into the mainstream.
“If one good thing comes from these shows,” Nicoletto, 36, said, “it’s that tattoos aren’t just for sailors and
. . .
bikers.”
Warm and bubbly, the Los Angeles-based Nicoletto is proof that an inked-up exterior often masks a softie. But she’s certainly not the first example: When Popeye the Sailor was introduced to the public in 1929, it didn’t take long for comic strip readers to recognize his shtick: In the end, he was just a spinach fan looking for love.
Article source: http://www.washingtonpost.com/local/tattoo-aficionados-show-off-body-of-work-at-dc-expo/2012/01/14/gIQA3FCQzP_story.html?wprss=rss_local
According to New York magazine’s Vulture, execs behind the upcoming movie “The Girl With the Dragon Tattooâ€� may have reason to worry that women won’t show up to see it.
The film is based on Stieg Larsson’s best-seller, and although it boasts a large female readership, some audience polling suggests that ladies aren’t expressing interest in seeing David Fincher’s adaptation on the big screen.
Vulture cites polling that shows a large swath of women both over and under 25 who are aware of the movie, but only 36 percent on either side of that age have expressed “definite interest” in seeing it.
Men, on the other hand, have slightly lower awareness percentages, and yet they have about the same percentage of “definite interest� responses.
One exec tells Vulture that violent previews may have turned women off. Referencing the dark marketing campaign, another exec asks, “Do women really want to see a movie like this at this time of year?�
On Wednesday, the film’s release date was pushed up by a day, which means “The Girl With the Dragon Tattoo� will now arrive on December 20. Will you see it?
Article source: http://marquee.blogs.cnn.com/2011/12/15/will-women-see-the-girl-with-the-dragon-tattoo/
Stefbear Q : Is there a website to get a free tattoo ankle with names I want my tattoo designed, but did it for free if possible because I know that I I will spend a lot to do. ? Are there places in the network, for whom the notion of a free Best Answer: The answer to
stumpy77
sorry honey, I’m looking for I tryed anniversary this year, and I wanted something to remember him best of luck on the hunt
Yesterday, my oldest daughter asked me if I wanted to get a tattoo with her. After pausing` for a moment, I told her I didn’t think so. The reason that I gave her was “Tattoo Regret.” Her response, “Tattoo regret, what’s that?”
Several times a week, I will have a patient come to my office who simply does not want to have their tattoo anymore. The patients who ask to have their tattoo or tattoos removed are all different ages, usually in their 20s or 30s but some are 40s to 60s.
Of course, as you would suspect, the most common reason is that John or DeSean, Ashley or Deionna aren’t around anymore. So, at this point in their life, they have “Tattoo Regret” for having gotten the tattoo in the first place… but I often wonder if they also regret having gotten into a relationship with John or Ashley at all. Or perhaps, their real regret is having broken up with DeSean or Deionna.
In fact, more and more people of color are coming in. A report published in 2006, demonstrated that 28 percent of Blacks, 37 percent of Hispanics and 36 percent of other non-Caucasians surveyed had gotten tattoos compared to 22 percent of Caucasians. It was interesting to see that twenty-six percent of those under age 18 and fourteen percent over age 18 reported that they had a work or social problem with their tattoo (the social problem sounds to me like the new boo is not happy with the old boo’s name).
The next most common reason for “Tattoo Regret” is that the person is having a problem or reaction in the tattoo. Reactions can begin as early as a few days after getting the tattoo to several months or even years later. In the report, 32 percent of people under the age of 18 and 9 percent over the age of 18, had a medical problem with their tattoo within the first 2 weeks.
Early reactions are most commonly infections in the tattoos with redness, tenderness, swelling and bumps. These infections are usually from common skin bacteria like Staph and Strep and are easily treated with antibiotics. But more serious infections can develop, such as a form of tuberculosis, that two of my patients have contracted. The specific infection is called Mycobacterium chelonae and if not cured by weeks of oral antibiotics, the tattoo must be surgically removed.
Allergic reactions also occur commonly in tattoos and they cause itchy, red bumps. The allergy is usually from the dyes that are used to create the tattoo such as mercury in red dye, cadmium in yellow dye, chromium in green dye and colbalt in blue dye. Common additives to black dyes may also cause a reaction. Cortisones can treat most of these reactions.
There are also some diseases that occur commonly in blacks that can develop right in the tattoo. One of the most common is sarcoidosis which is a granulomatous disease that affects African American women in particular. Sarcoidosis occurs inside the body, in the lungs, heart and eyes but also on the facial skin and in tattoos. Large, red bumps often develop. Cortisone creams or injections are used to treat this disorder but removal of the tattoo may become necessary.
One of the best ways to avoid infections is to avoid tattoo parties and avoid having your tattoo done in someone’s basement or home. Research and locate a licensed tattoo salon or parlor, even if it means traveling to a different part of your city or town. Make sure the parlor is clean, including the chair that you sit in and the floor. The tattoo artist must also be clean and well groomed (right down to his or her hands and fingernails). Finally, make sure that the needles are sterile and have not been used on someone else as well as the dyes that are used. Ask the artist to dilute the dyes with sterile water to avoid the Mycobacterium chelonae infection that I told you about earlier.
I think about the women who, for her 25th Anniversary, had her husband’s name tattooed on her wrist. She thought that the marriage would now last forever. It sounds like she didn’t hear about the 99 year old who asked for a divorce after 77 years of marriage. So what can be done if forever does not last forever or if you have a serious case of “Tattoo Regret?”
The best way to have a tattoo removed is with a laser. It is a bit more complicated for people with skin of color. The key is asking for the right laser, which in this case, is the Q-switched nd:YAG laser. It takes several treatments, 3 to 4, which are performed every 8 weeks or so. Also remember, regret does not come cheap. The cost of tattoo removal will range from several hundreds to thousands of dollars depending on the size and location of the tattoo.
I ultimately decided not to get a tattoo because of the fear of “Tattoo Regret” but the question now becomes, will I regret not getting a tattoo? We only live once.
Article source: http://www.huffingtonpost.com/dr-susan-taylor/tattoo-regret_b_1200409.html
Jan 10 (TheWrap.com) - “The Girl With a Dragon Tattoo” kicks off with a violent and sexually charged title sequence that would put a James Bond film to shame.
That’s just how director David Fincher wanted it when he tapped Blur Studio, a Venice, Calif., based animation and visual effects firm, to create the two-and-half minute credits for his adaptation of Stieg Larsson’s hit novel.
Blur Creative Director Tim Miller told TheWrap that Fincher instructed him to design an opening that would “look like James Bond if he was a 22-year old disturbed cutter.”
He got his wish. The oil-drenched opening contains shots of a man engulfed in flame, a woman spitting out a swarm of hornets, and, in a nod to the heroine Lisbeth Salander’s hacker talents, a veritable spider’s web of USB cables.
The dizzying spectacle is set to Trent Reznor and Karen O’s howling rendition of “The Immigrant Song.”
“We wanted it to look like a nightmare — a bad dream that tells elements of Salander’s past,” Miller told TheWrap.
That meant culling together sequences from not only “Dragon Tattoo,” but also the other two books in the “The Millennium series,” “The Girl Who Kicked the Hornet’s Nest” and “The Girl Who Played With Fire.”
Consequently, the title sequence included shots of Salander lighting her father on fire and digging herself out of a grave that don’t appear until later in the series.
“It was less about telling a linear story and more about the ideas behind the images,” Miller said. “That’s why you have the shot of Daniel Craig being strangled by the newspaper to show the effect of the libel case on.”
In addition to the 007 films, Miller drew on such outre inspirations as a video of girls wrestling in oil, pictures of an artist who would paint himself black and stand in a gallery, and a series of images of women splattered with black paint.
Getting the distinctive look right required the latest in computer technology. The effects in the credit sequence were achieved electronically using 3D scans of the film’s stars Daniel Craig (Mikael Blomkvist) and Rooney Mara (Salander). These computer graphics were designed so that they could be viewed from multiple camera angles throughout the editing process.
The most challenging element, Miller said, was getting the black ooze that seeps throughout the title sequence to look realistic. To that end, Blur tapped fluid special effects specialists Spatial Harmonics and Fusion CIS to design the inky liquid.
In all, there are a total of 252 shots in the clip with each cut lasting for roughly 24 frames a second, giving the whole thing a hyper-adrenalized and spastic feeling that matches the troubled title character’s disturbed state of mind.
The process took Blur nearly four months to complete, with the company wrapping up work in November.
For Blur, a 100-person company that is best known its work creating the space sequences in “Avatar,” the film was a departure of sorts. Although Miller had worked with Fincher on “Zodiac” and on a shelved remake of “Heavy Metal,” Blur had never created a title sequence before.
Although the reaction among critics and bloggers has been enthusiastic, Miller said Blur has not received any new commissions for a feature film title sequence.
“I hope we get more of that kind of work,” Miller said. “The reaction has been great, but people expect greatness from David and they want to like it, so we get a little bit of the Fincher bump.”
(Editing By Zorianna Kit)
Article source: http://news.yahoo.com/dragon-tattoos-title-sequence-came-012150086.html
I am currently acting in the Hollywood version of the bestselling book, The Girl with the Dragon Tattoo. The thriller tells the story of a high-stakes effort to unravel the case of a serial killer who has committed unspeakable crimes against women.
The film is a gripping, graphic work of fiction. But it confronts an issue that scars women the world over, though perhaps nowhere more dramatically than in the Democratic Republic of Congo.
After we finished filming Tattoo, I traveled to the war-torn eastern region of Congo to learn about a horrific epidemic of violence against women playing out every day in real life.
At the height of Congo’s war — which officially ended in 2003 but remains a daily reality for most Congolese in the east — soldiers and mercenaries from eight different countries fought in the mineral-rich region, many of them plundering the country’s wealth. Though most of the foreign fighters are gone now and some of the Congolese rebel groups have joined the national army, the civilians living in the conflict zone have seen no relief.
In war, women and children are often caught in the crossfire. But in Congo, where conflict is fuelled by the struggle over valuable minerals, rebels and even soldiers in the notoriously undisciplined Congolese army systematically target civilians — elderly women, toddlers, middle-aged fathers, young girls, mothers, teenage boys — using rape as a weapon to assert control over communities. The minerals that the armed groups are after become essential components in the electronics products that we’re dependent on — the cell phones, laptops, cameras, iPods that we use every day without even a thought about their origin in the world’s deadliest war zone since World War II.
The link between Congo’s conflict minerals and sexual violence is undeniable. In eastern Congo I met with survivors of these atrocities who are now ostracized by their communities because of the shame of sexual violence. Reflecting on the trip now, I realize that at once, these interactions represented the moment when I felt the most despair about the severity and complexity of the conflict, but also the most inspiration about the resiliency of the survivors and the dedication of local advocates working to rehabilitate the women and provide them with vocational skills.
As conscientious consumers, we can all do more to alleviate this plight — most of all by helping prevent the violence that leaves women incapacitated, like one woman I met in the town of Bukavu who has undergone eight surgeries to try to reconstruct her tattered female organs after being raped.
Right now, the conflict-free movement in the United States is growing, as more and more people learn about the conflict in Congo and demand that the companies they buy from proactively work to ensure their minerals supply chain from Congo doesn’t fund armed groups. Through our collective efforts, we must pressure the U.S. government and electronics companies to implement an international certification scheme that enables companies to trace the source of the minerals, and that allows consumers to choose who to give business to, based on their human rights record in Congo.
Women in other countries around the world, including the United States, suffer from the scourge of sexual violence, though the stories I heard in Congo are exceptional in their brutality. So why focus on Congo? Because the war is an accountability issue for each and every one of us.
Actor and activist Robin Wright, @RealRobinWright, recently traveled to eastern Congo with the Enough Project, a Washington, D.C.-based group focused on ending genocide and crimes against humanity.
Article source: http://www.huffingtonpost.com/robin/from-dragon-tattoo-to-con_b_1197226.html
When Rooney Mara, star of The Girl With the Dragon Tattoo, suggested that Lisbeth Salander was not a feminist, Stieg Larsson’s partner knew how to put her down. “Does she know what film she has been in?” asked Eva Gabrielsson, who shared much of Larsson’s life until his death in 2004. “Has she read the books? Has she not had any coaching?”
In case you were in any doubt, the questions were rhetorical. To Gabrielsson, Mara was another ignorant Hollywood star. If she had taken the trouble to understand The Girl With the Dragon Tattoo before playing its goth heroine, she would have realised that Salander’s “entire being represents a resistance, an active resistance to the mechanisms that mean women don’t advance in this world and in worst-case scenarios are abused like she was”.
Her repetition of “resistance” flagged that Gabrielsson, like Larsson, had done time on the European far left. Their backgrounds only emphasised the extraordinary and apparently admirable success of the Millennium trilogy. The far left’s record on women’s rights would make the Vatican blush with shame. Its alliances with radical Islam make it, at best, a misogynist force and, at worst, an active agent of oppression. Larsson appeared to be the exception. I wrote in the Observer about how impressed I was when I discovered that while completing his thrillers, Larsson found the time to dash off a polemic about honour killings in Sweden. Here, after all these years, was a leftist who preferred to drag himself out of the swamp of relativist politics rather than compromise his principles.
I won’t pretend that the novels are feminist tracts. Like most thrillers, they rely on plots that strike you as absurd as soon as you stop turning the pages. Salander may be a victim of rapists to begin with, but she becomes a superwoman, taking on and beating Hell’s Angels and emptying the bank accounts of a corrupt plutocrat without the police suspecting her for a moment. Mikael Blomkvist, the shabby, middle-aged journalist who helps Salander, is a politically correct Don Juan, so charismatic that he does not even need to try to persuade a procession of beautiful women to join him in bed. As I and every other shabby, middle-aged journalist at the Observer can attest, Larsson’s fantasy is not an example of art imitating life.
For all the surrounding silliness, feminism holds the story together and gives it a strange power. The persistence of the abuse of women by men, and men’s expectation that they can get away with it, explains the novels’ crimes and the determination of the heroes to solve them. There is something truly thrilling in the notion that the bestselling thrillers of the past decade were written by that modern rarity – a leftwing, male feminist.
Except that Larsson wasn’t a feminist – or not a consistent one. He wrote with real anger about the oppression of women with white skins. When others tried to do the same about the oppression of women with brown skins, he denounced them as racists. My friend and colleague Johan Lundberg, the editor of the Swedish journal Axess, has done what I should have done and read Larsson’s obscure book on honour killings. He waited for the release of the film to give us his findings.
Larsson did indeed break off from writing the Millennium trilogy to intervene in the debate about the “honour killings” of two Kurdish women in Sweden. Far from worrying about the suffering of women, Larsson and his co-author said those who campaigned for the rights of women in immigrant communities wanted “to portray all male immigrants as representatives of a single homogeneous attitude towards women”. They had sexist as well as racist motives. They only talked about honour crime because they wanted to divert attention from how white men raised in the “patriarchal structures of Swedish society” abused and murdered women as a matter of course.
If all Larsson wanted to say was that the rights of women should be upheld, regardless of colour or creed, then no one could argue with him. He came close to asserting the opposite. Believe that western legal systems, for all their faults, were preferable to forced marriages, religious courts where the testimony of a woman is worth half that of a man and the stoning to death of adulterous women and you were a “rightwing extremist”, carrying on the fascist tradition. In a final descent into paranoid dementia, he accused those who disagreed with him of preparing to unleash “special operations forces, which are ready to begin the ethnic cleansing”.
Read the trilogy or watch the film and you can trace Larsson’s beliefs by his errors of omission. He includes every variety of male violence against women, except the violence inspired by religious and cultural misogyny. I do not wish to be too priggish. A work of art – high or popular – lives or dies on its own merits. Larsson was also a brave man, who faced down death threats from Scandinavian Nazis. That he could propagate brutish ideas in his political pamphlets on occasion does not change his anti-fascist record or invalidate his fiction.
His views would not matter if they were confined to Trotsky cults. Unfortunately, the notion that anti-racism trumps feminism is everywhere in the European liberal mainstream and has an especially tight hold on the British liberal-left. Its adherents are so frightened of taking on conventional wisdom they do not notice that they are behaving like the racists they profess to oppose. Last year, members of the British Iranian and Kurdish Women’s Rights Organisation, which is not made up of the “rightwing extremists” of Larsson’s conspiratorial imagination, provided details of thousands of threats, abduction, acid attacks, beatings, forced marriage, mutilations and murders men had inflicted on Muslim and ex-Muslim women. If the victims had been white, the left would have gone wild.
Our centre-right government would have never dared cut funding to women’s refuges. Liberal opinion would have demanded that the police make tackling “honour” violence a priority and accused chief constables of sexist prejudice if they refused. As the victims were British Indians, Bengalis, Pakistanis, Kurds, Somalis, Arabs and Iranians, a nervous silence descended. Too few were willing to endure the accusations of racism from Stieg Larsson’s successors a consistent defence of women’s rights would have brought.
I do not go to actors for political advice. But when Rooney Mara said that she did not think that Larsson’s Salander was a feminist, she was not the empty-headed celebrity she seemed.
Article source: http://www.guardian.co.uk/commentisfree/2012/jan/08/nick-cohen-stieg-larsson
