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The Girl with the Dragon Tattoo

1,276 words

For a review of the English-language remake, click here

For several years now, Stieg Larsson’s The Girl with the Dragon Tattoo and its two sequels have been among the world’s best-selling works of fiction. Of course, I have no time or taste for contemporary popular fiction, so it completely escaped me.

Around last Christmas, however, a friend mentioned the movie version in the context of a conversation about travel in Scandinavia. (The movie was produced and shot in Sweden.) By chance, shortly after that, Netflix included it in a list of movies I might like. On a whim, I added it to my queue, then forgot about it until it showed up in my mailbox a month later.

All of this, of course, is a necessary alibi, because this movie is so stupid, so politically correct, and so downright evil that I never would have watched it if I had known anything about it, aside from where it was filmed.

Stieg Larsson (1954–2004) was a Swedish Communist journalist and activist. He was also a fervent feminist. In his work, he portrays Sweden as a society rife with violence and sadism against women. No, he is not writing about the violence committed by the Muslim and black immigrants that Communists like himself have been inflicting upon Sweden. He is writing about Swedish men.

Now the Vikings did their share of roving and raping and pillaging a millennium ago. I have the blue eyes to prove it. But today, Nordic men are among the most peaceable and law-abiding in the world, and by all objective measures, Nordic women are some of the best off women in the world, although they are now being subjected to increased levels of rape and sexual exploitation by non-white immigrants. (In Stieg Larsson’s world, the only immigrants are women, who are raped and murdered by sadistic Swedes.)

But it gets worse. Sweden is, of course, one of Europe’s most left-wing countries. Stieg Larsson’s Sweden, however, is menaced by powerful Nazis. That’s right. Nazis. Larssen himself claimed that his life was constantly threatened by powerful Nazis. He refused to marry his long-time girlfriend, telling her, “Sorry baby, if we get hitched, the Nazis might get you too.” A gallant defender of women to the end, that Stieg Larssen.

Larssen’s books were published after his death, and under Swedish law, his mistress gets nothing. He wanted his estate to go to the Communist Party, but his will was legally invalid, so all of his royalties go to his father and brother. Surely they could not be worse recipients of a vast fortune than Stieg, his mistress, or the Communist Party.

These Nazis are, moreover, some of Sweden’s leading industrialists. And there’s more. One of these families of Nazi industrialists, the Vangers, is about the worst clan since Sawney Beane. There is incest, parricide, and a father-son team of serial rapists and murderers.

To make matters worse, the father, Gottfried Vanger, seems to be a Christian religious enthusiast (in about the least religious country in Europe).

But what is truly unforgivable is his anti-Semitism. His victims are Jews. Including a Jewish farm wife. (Perhaps her family fled Hans Landa’s WW II roundup of Jewish dairy farmers in France depicted in Inglourious Basterds.) When the Jewish angle is revealed, the good guys — already hip deep in death — react with a special horror that reveals that their deepest sympathies lie with Jews. The whole atmosphere of the movie darkens. Now, the audience is to understand, this evil is really serious.

Thus Stieg Larsson is mentally indistinguishable from a Jew in regarding Jewish lives as more valuable than non-Jewish lives, including, presumably, his own. Normal people reserve their deepest horror for the deaths of the people who are closest to them. It is more horrible to lose a friend or family member than a stranger, more horrible to lose a countryman than a foreigner.

But Larsson’s characters — who are merely projections of his character — are horrified when they discover that the victims are not their fellow Swedes, but Jews. In Guillaume Faye’s terms, they are textbook ethnomasochists and xenophiles. They would prefer their own people to be murdered rather than Jews (Jews above all) and assorted totemic “others.”  Sick, sick people.

Gottfried, the sick bastard, teaches his son Martin to be a rapist and serial killer too. The son, however, is rather pleased that he has grown beyond his father’s racial and religious views. Martin is modern. He is emancipated from prejudice. He just kills for pleasure.

Sweden did have some prominent Nazis, including the great explorer Sven Hedin (who was part Jewish, but that did not prevent him from befriending Hitler, Goebbels, Göring, and other top Nazis). As a young man, Ingmar Bergman, Sweden’s greatest filmmaker, was an enthusiastic admirer of Hitler. Ingvar Kamprad, the founder of IKEA and one of the world’s richest men, was a follower of Swedish fascist Per Engdahl (who was not a Nazi but a follower of Mussolini). Sweden also has younger generations of neo-Nazis, but they are few, marginalized, powerless, and far less prone to violence than non-white immigrants or left-wing anti-fascists.

Noomi Norén as Lisbeth Salander

The “good guys” in this movie are the “girl with the dragon tattoo” herself Lisbeth Salander (played by Noomi Norén, who is half Swedish and half Spanish-Gypsy) and Mikael Bomkvist (played by Michael Nyqvist), a left-wing journalist and defender of women clearly modeled on Larssen himself.

Lisbeth is an emotionally damaged woman who has been mentally hospitalized. She has mutilated her body with multiple piercings and extensive tattoos. Her hair is bottle black. (Even without the ink and hardware, her body is repulsively lean, muscular, and titless.) She works as a hacker: a criminal who snoops in people’s private data. She has Asperger’s syndrome and has a hard time maintaining personal relationships. She is a lesbian. Oh, and when she was 12 years old, she set her father on fire.

Inger Nilsson as Pippi Longstocking

Larssen had the face to claim that Lisbeth is Pippi Longstocking all grown up, which is a pretty good description of the agenda of every leftist defender of women. Pippi Longstocking was a cute, adventurous little girl with superhuman strength who was the subject of a highly popular series of wholesome Swedish childrens’ books and movies. The feminist idea of progress apparently means turning every bright, spunky, adventurous Pippi Longstocking into a hard, cold, emotionally repressed, alienated, criminal, tattooed, lesbian freak with a face full of hardware.

Of course the modern publishing industry turns out this kind of repulsive, politically correct swill all the time. The reason that Larssen’s books are so popular is that—if the movie is any indication—he is actually a good storyteller. The movie is also a very well-made, directed by the Dane Niels Arden Oplev, with a uniformly excellent cast. The character of Martin Vanger is genuinely terrifying in ways never approached by more flamboyant serial killers like Hannibal Lecter.

But it is impossible to recommend such a relentlessly dishonest and stupidly P.C. movie. At least abominations like The Matrix Reloaded, Inglourious Basterds, and Machete can be turned to our advantage with a clever review. But this movie has nothing positive to offer.

The Girl with the Dragon Tattoo is long gone from the theaters. But you have not dodged the bullet yet. Hollywood could not pass up a steaming pile of anti-Nazi, anti-white, pro-feminist propaganda like this. So Jewish director David Fincher (Fight Club) is working on an English-language version starring Daniel Craig as Mikael Blomkvist. They are aiming for a December 2011 release. Happy Hannukah!



  1. Posted February 10, 2011 at 4:55 am | Permalink

    Yes, I have also avoided these books and films. I actually saw the first film this weekend, just to know what the fuzz was about. Now I know.

    A bit more on Stieg Larsson: He was the chief editor of Expo, the Swedish version of Searchlight Magazine. Expo‘s “ansvarige utgivare” (I don’t know the English equivalent: the person responsible for the journal in legal matters etc.) is the Swedish-Jewish mass media big shot Robert Aschberg, grandson of Olof Aschberg ( who helped finance the Bolshevik revolution in Russia (by the way, a part of his autobiography is called “A Wandering Jew from Glasbruksgatan”).

  2. Posted February 10, 2011 at 5:06 am | Permalink

    The proles want one narrative: it’s not our fault. These books play into it, as do most books and movies. Our need is to get our view into similarly “good storyteller” works. It’s harder for us because pathological liars make the best storytellers.

  3. Resigned
    Posted February 10, 2011 at 7:04 am | Permalink

    I myself have been having a hard time keeping my Netflix queque filled of late. It would be cool if Trevor Lynch would create a sanctioned or essential movie list for this website to give us some ideas.

    • Greg Johnson
      Posted February 10, 2011 at 3:00 pm | Permalink

      I will work on that, but in the meantime I recommend that you begin by reading through my reviews.

  4. Lucius
    Posted February 10, 2011 at 11:22 am | Permalink

    This is a terrific review, so kudos to you Mr Lynch.

    But here’s the sad reality of it all. If one was to write a fiction novel or even a biography of a true female icon of strength, and let us call it “defiance” against the “oppressive white male system” (I mean this sarcastically), then one would most certainly choose to write about Hanna Reitsch: Hitler’s female test pilot. The only problem is that unlike Larssen, an obvious dupe and clown of neo-Marxism’s global genocide agenda, this author would make zero money from such a book and would be scorned for “Nazi apologism.” He would also be fired from his job, assuming he had one, and would be blackballed for life and would thus either starve and linger as a street person or would be reduced to begging for money from those who sympathized with his “evil Nazi views.” Sickening, yes? But true!

    This is the sorry state in which “Western” society lulls. This is why, in my opinion, the twin lies of “Hitler the racist” and “the Holocaust” must fall. There will be no freedom or rebirth unless these twin pillars of ZOG power collapse like the ‘great eye’ of Sauron.


  5. Posted February 10, 2011 at 12:41 pm | Permalink

    Thanks for the brilliant demolition job!

    In spite of some of my more sheep-like friends gushing about this film and exhibiting his brick-like tomes on their coffee tables as a semi-permanent fixture, I’ve instinctively avoided everything to do with Stieg Larsson.

    Now I know why.

    • Lucius
      Posted February 10, 2011 at 6:22 pm | Permalink


      To add to what you said here, I find it not at all surprising that Emma Watson (who plays Hermione Granger in Harry Potter) was REJECTED for the role of “the girl with the dragon tattoo.” I think I know why.

      Ms Watson is an intelligent, classy, wholesome young woman who never succumbed to the smut-trash of Jewish Hollywood or its British equivalent there in the Isles. She remarkably has real breasts and dresses tactfully before the masses that worship her. She continued on with her education and saved her money. She supports a clothing line that is relatively anti-globalist and she even visited the workers in, I believe, Bangladesh to see how they were treated and how hard they worked. To make a long story short, Watson was simply too wholesome and tactful to be cast in this ludicrous film based on Larsson’s garbage that passed for a novel.


  6. Gollywog
    Posted February 10, 2011 at 2:33 pm | Permalink

    Try this new novel:

    While not overtly racialist, it portrays Norse culture and the Norse gods in a generally positive light, and the villains are more or less”proto-globalists”.

    Don’t hold your breath for a Hollywood film version, though.

  7. Jan L
    Posted February 10, 2011 at 9:29 pm | Permalink

    I haven’t read and will not read Stieg Larsson’s crappy books.

  8. Greg Paulson
    Posted February 11, 2011 at 11:31 am | Permalink

    Great review. Unfortunately, I know what you’re talking about since I watched the first movie with my fiancée at her request. We were both utterly disgusted and were able to point out all the ridiculousness and evil nonsense throughout the movie. Movies like this are only made remotely viewable by the game I believe we are not alone in playing: trying to catch all the different aspects of jewish/antifa propaganda. At least this way we are challenging ourselves to not let a thing past us…it’s the stuff we DON’T notice that is worst, as it seeps into our unconscious as “normal.” That is part of the reason I appreciate such reviews, I get to see what I missed.

  9. Erik Nordman
    Posted February 12, 2011 at 11:42 pm | Permalink

    Stieg Larsson’s view of the world is quite remarkable. After performing his mandatory military service as a member of a mortar crew, he travelled to Eritrea and taught the anti-Ethiopian rebels how to use that weapon.

    I can safely say that I have never heard or read of a White-on-Brown rape in Sweden.

    Point of order, though; the Hon. Sven Hedin (the last man to be knighted in Sweden) was only 1/16 Jewish and quite proud of it, claiming that the survival skills of that race were valuable. The German leadership was aware of it, as well, but since his blood was too diluted to even qualify as a mischling , and he was a staunchly pro-German (since before WW I), it was never a problem.

  10. Razvan
    Posted February 14, 2011 at 6:41 am | Permalink

    Thank you for review. I was wondering lately why Stieg Larsson’s name is everywhere (TV, bookstores, libraries – in Romania). What’s strange is that many people buy his books thinking: “if it is swedish it has to be good”.

    Thank you for the infos Ulf Larsen.

  11. LyovMyshkin
    Posted September 16, 2015 at 5:53 am | Permalink

    I was inspired to reread this review because of your latest appearance on the Daily Shoah.

    I just had one question: where did you get the info on Fincher’s ethnicity?

    I was surprised because I’ve watched Gone Girl a few times and found it to be one of the most scathing critiques of female nature, feminism and female driven culture I’ve ever seen.

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