Det slog mig idag att jag faktiskt mår lite illa över tanken att det är Fincher som är personen bakom, när den viktiga karaktären Lisbeth Salander ska spridas över världen.
Jag menar att hon skulle kunna(t) bli och utvecklas till en riktigt betydande kvinnlig karaktär inom filmen. Amerikaniserad och därmed få genomslagskraft.
Hon är en kvinna som extremt sällan (menar alltså aldrig) gestaltats på den amerikanska storfilmsduken. En svenska dessutom. Men av någon anledning tror jag hon inte kommer vara mer än den vanliga hollywoodifierade kvinnan. Med piercings.
På omslaget av Vogues arty systertidning W.
Ok, jag ska inte säga något innan filmen har premiär. Men ett par utdrag ur den intervju med Rooney Mara (hon som spelar Lisbeth Salander i den amerikanska versionen av filmen) och regissören David Fincher som kan läsas i novembernumret av Vogue ger mig dåliga vibbar (i underdrift)… :
“Mara hangs on Fincher’s every word, her eyes lit with admiration. Their relationship, it quickly becomes clear, is charged with the electric current of the mentor-protégée crush, which is both touching and occasionally uncomfortable to watch. Daniel Craig, who costars as a crusading journalist named Mikael Blomkvist, says about their working relationship, “It’s fucking weird!”
When a waiter appears to take our order, we are all looking at our menus, but I see out of the corner of my eye Fincher nudging Mara. He says with quiet seriousness, “You can eat.” I look up to see her reaction. Mara rolls her eyes, and Fincher laughs. “You can have lettuce and a grape. A raisin if you must.” She orders a piece of fish and barely touches it.
She mentions a time Fincher said, “Go out and get really, really drunk and come in the next morning so we can take pictures of you.” He wanted to show Sony that she could look strung out. “And I did it!” says Mara. “Threw up all night!”
“Look, we saw some amazing people. Scarlett Johansson was great. It was a great audition, I’m telling you. But the thing with Scarlett is, you can’t wait for her to take her clothes off.”
Scroll, scroll, double-click. “I’ll show you this,” he says. “It’s pretty heartbreaking.” It is the scene in which Salander goes to the office of her new social worker, Nils Bjurman, played with shuddersome menace by Yorick van Wageningen, and it slowly dawns on her that he is a monster who has total control over her money and her life. The scene is agonizing to watch as it slowly becomes apparent that he is going to sodomize her. Nothing is left to the imagination. When I call van Wageningen, he brings up another difficult scene, one in which he rapes Salander. “Probably the most terrifying thing I’ve ever done,” he says. “I spent a day crying in my hotel room. I’m sure she did, too.” During the shoot, Mara said to him, “Please don’t ask me if I am OK, because I don’t want to think of you as a compassionate human being.” When I ask her how difficult shooting those scenes were, she says, “I don’t know how to describe it. I think, physically, it was hardest. I got really beat up. But I gave myself a few days and then I was fine.”
Perhaps because of this, Fincher seems a touch defensive about the choices he has made for his Salander. At dinner the night before, I used the word badass to describe Salander, and Fincher and Mara jumped all over me. “That’s a pose,” said Fincher. “It’s reductive to think of her that way. She’s not the Terminator. And you know, it’s not Dirty Harry, either. It’s way more feminine. Revenge is too easy.” Mara added, “Lisbeth lives by her own set of rules. She does the violent things she does for a reason, because it goes with her moral code.”
There is a scene in which Salander returns to Bjurman’s house knowing that she will be molested again—but videotapes it. “It’s a move on a chessboard,” says Fincher. “Somebody who is thinking in three dimensions as opposed to two. And it’s a compromise that she’s willing to make because it will free her. And then, of course, it gets worse than what anybody in the room could possibly imagine.”
“………” Jag orkar inte ens kommentera all den cyniska, gubbsjuka självbelåtna snubberi i det där.
Den amerikanska filmaffischen.
Vilken har mest power för er? För mig, den där hon inte är naken och ägd slash skyddad av en James Bond-arm. sorry.
Det var dagens ofullständiga fundering GOD NATT. X