Counter-Currents
702 words
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.
16 comments
Great comments. I haven’t experienced this story in any medium yet, but your words ring true. I especially like “But all the obvious talent, even virtuosity, that went into the book and movies is just candy coating on rat poison.” This aphorism applies very well to the series “Dexter”, which I refuse to watch too. The hero of the story is a serial killer. A hero can even be a serial killer in our topsy-turvy culture, but not a white person who feels racial pride. People keep enjoining me to watch Dexter because the stories are “so entertaining.” To me, that makes it all the worse, that so much talent is invested to sugarcoat the rat poison, to make corruption fragrant.
Will you be doing a review of Angelina Jolie’s directorial debut Bosnian war film In The Land of Blood and Honey?
As keeping in tradition with Hollywood and western films and television with the copious amount of movies depicting Serbs as genocidal Nazis, an amazing re-write of history and the Islamic regime of the Bosnian president and Bosnian jihadists as European Jews during WW2 with mass media support, foreign NGO’s, western PR firms, human rights groups and support from international Jewish organisations and Holocaust institutions urging western intervention on behalf of Bosnian Muslims a narrative seared into the public consciousness with the Serbian Death Camp hoax which turned out to be an open air refugee centre.
http://www.youtube.com/watch?v=RKYhaQ3gbsA
Bosnia rebels would later reward the US and Europe by financing the 9/11 attacks and be used as a base like the Madrid bombing to launch terrorist attacks in Europe and recruit and transit fighters from Europe and weapons to militants fighting US forces in Iraq.
Jolie’s film apparently regurgitates the most fundamental myths regarding the Bosnian war in her movie namely that Bosnian Serbs committed mass rapes against Bosnian Muslim women and that Serbs had a Greater Serbia policy to murder, rape and ethnically cleanse all non- Serbs from Bosnia.
In The Land of Blood and Honey looks like the Muslims Schindler’s List were even the Serb protagonist who falls in love with a Muslim women is conflicted with his Serbian ethnic identity as part of the Serbian military forces/death squads hunting and massacring Bosnian Muslims.
http://www.youtube.com/watch?v=wDBU8CqU0dg
It sounds like you are well on your way to writing a review! Consider it.
@Greg Johnson
I couldn’t write to save myself which I would have created a blog and written articles long ago with our dealing in Chechnya and the Caspian oil industry, the best information of which is from US terrorism court cases that puts this war on terrorism into perspective and that there is a predominant ethnic thread that runs through it.
As for the Jolie film there is a lot of good Serb and anti-jihad blogs that have documented the long jihadist presence in the Balkans who will probably cover all the points in Jolie’s film.
One is already up at 1389 counter jihad blog which prompted me to ask if you were considering reviewing it.
“The beginning of the film shows Ajla getting dressed for a date with a Serbian policeman. The following scene is of them dancing in a Sarajevo nightclub, meant to show a multi-ethnic city being shattered by a bomb blast, obviously launched by the Serbs. The next scene erupts with women being dragged onto a bus headed for what else? A Serb Rape Camp! Little footage is wasted before these women are taken from the bus, and moments later, a Serbian policeman throws one of them over the hood of a vehicle, pulls down her pants and rapes her. Next, the policeman grabs Ajla and proceeds to rape her when Danijel, her Serb love interest, prevents the rape and tells his fellow officer that she is not to be touched. Ajla survives the story locked in a room and only sleeps with Danijel. Why a young man would spend a war defending a woman with whom he only had one date, rings hollow in this plot. Turning that into another “Romeo & Juliet of Bosnia” comes off as rather naïve.
Jolie uses this Serbian bombing as the beginning of her film, ignoring the real start of the Bosnian Civil War when Muslim terrorists crashed into a Christian Serbian church during a wedding in Sarajevo, telling the guests that “Serbs were no longer allowed to display their centuries-old flag because Bosnia was now a Muslim country.” The thugs then shot and killed the father of the groom and seriously wounded the Serbian Orthodox priest and a dozen of the wedding guests.”
http://1389blog.com/2011/12/17/review-of-in-the-land-of-blood-and-honey-a-movie-by-angelina-jolie/
Yes, this stuff is truely evil beyond words, it is a nasty, ideological horror fantasy of a talented lefty neurotic about his own country – whose people generally are as harmless and nice as an ABBA song. And this is exactly why they let themselves get screwed up by PC propaganda without offering any resistance or having a clue what is happening at all. To blame Sweden of a all countries in the world as a hotbed of violence against women would be the joke of the century, if it wasn’t so viciously libelous. The mass audiences swallow this with pleasure and without realising the heavy ideological content and subtext at all. Worst of all for me is the ugly, obnoxious heroine, a role model to fight evil white heterosexual nazi males…
I had/have no interest in this movie. I think I’ll get the soundtrack though. I thought Atticus Ross’s work on The Book of Eli was wonderful.
As an American who works with a primarily Swedish company (Arktos), I can attest as to how oppressive Stieg Larsson’s legacy and the organization he spawned, Expo, have been to the Right, and anyone interested in preserving their ethnic/cultural identity, in Sweden. They will stop at nothing to realize their warped view of the world upon others. Thanks for this excellent review, even though it’s annoying to know that Fincher’s name attached to it undoubtedly means this film will add yet more millions to Expo’s coffers.
Fortunately, Larssen is dead and his royalties go to his father and brother, not to the Swedish Communist Party as specified by his will, which was declared legally invalid.
I forgot to add: it’s a shame that Fincher, the maker of “Fight Club,” has now been reduced to this.
Fight Club is a fluke compared to the rest of Fincher’s work.
Social Network is pretty good.
Yes, I found it painful to see Fincher’s name attached to this…
I haven’t seen it, but I saw the originals, and they bear out everything said here. I’ve commented on this and linked to it HERE.
Larsson was not a great storyteller. He was a guy whowould write 12 pages describing a flower which had no relevance to the plot. It was his editors who were able to get a 300 page story out of the 1000 pages he had handed in.
The English language version dumped so much out of the Swedish translation that the translator had his name taken off the book.
“In the American version of the same scene, a thief grabs her computer case and runs up an escalator. Lisbeth (Rooney Mara) overtakes him, clobbers him, reclaims the computer, slides down the wide aluminum divider between the up and down escalators, slips off the bottom and runs into a train just before its doors close. Either way, this is a very tough girl.”
I for one welcome our athletically superior tattooed pierced lesbian overladies!
http://www.the-spearhead.com/2011/12/29/the-girl-with-the-dragon-tattoo-hate-porn-for-feminists/
http://takimag.com/article/fight_the_imaginary_power/print#axzz1hvs70fQk
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