This article follows Part 1 of The Cinematography of ‘The Girl with the Dragon Tattoo’, which explored the first in three scenes that tell the story of the relationship between Lisbeth Salander and Nils Bjurman. Here, I skip ahead to the final of the three scenes, as it’s possibly the most visually interesting of the trio:
(password is ‘cinevenger’):
After she enters the apartment, Lisbeth is shown in close-up with Bjurman out of focus in the background. Depicting Bjurman defocused and small in Lisbeth’s background gives the sense that she is no longer intimidated by him, and that he isn’t even her main concern (on a second viewing of the scene, it becomes clear that she is in fact more concerned with checking the house for other occupants than by Bjurman himself).
When Lisbeth turns and the lens racks to Bjurman, the juxtaposition of sizes is maintained. The inclusion of the entirety of the large black nebulous void created by the back of Lisbeth’s hooded head in such close graphical proximity to Bjurman makes her seem ambiguously threatening.
Opening the scene this way is also particularly meaningful when contrasted to the first scene between these two characters, which used a similar juxtaposition of size and focus to portray Lisbeth’s disconnect and relative helplessness.
An overhead wide shot looking straight down on a collapsed Bjurman is piece of classic film grammar: the camera looms over him from dominating heights and shows his subjugation. But, it’s more than that: center-punching Bjurman and showing the entire room in symmetrical, straight-on geometry gives a sense of order and meticulousness to the entire incident: it wasn’t a frantic or frenzied attack, but rather something precise and structured.
In a medium close-up of Blomkvist, a bright flare stretches across the frame like a beacon, giving the sense of exploration and discovery. In a film characterized by its dark and controlled images, this flare momentarily breaks through the subdued palette and heralds a turning point in the film.
A set of shots of Blomkvist operating the computer are more than just inserts: as Blomkvist begins to realize the importance of a set of photos that he is viewing, the series of shots get progressively tighter and the depth of field decreases dramatically. Unimportant visual elements are progressively discarded to a sea of defocus, leaving only the most critical details in razor-thin depth-of-field, giving the sense that Blomkvist is honing in on something substantial.
The camera dollies in towards the bedroom door, following the mess of clothes and debris in the dark hallway towards the warm lamplight within. The camera move pulls the viewer out of the darkness and towards the entrance, as if inviting them to creep into a space now seen as secure and safe.
Also notable is the contrast between this shot and a shot in the second Lisbeth/Bjurman scene (which was not covered here). In this shot (second image above), the camera looks up at the intimidating doorway and dollies away, as if trying to escape the horrors inside. The two shots, examined as a pair, show the transformation of the space from something abhorrent to pacified.
In two medium shots, a blown-out lamp dominates the entire image, reaching across the frame with a scalding flare and creating a razor-sharp specular reflection off Bjurman’s exposed flesh. The light seems to envelop Bjurman like a glowing fireball, showing his raw vulnerability to this vicious situation.
Also notable is the connection between the previous scene of Blomkvist’s discovery and this scene, via the use of flare as motif. The conjoining idea seems to be one of catharsis and progress: in both scenes, the flare punches through the image, both leading Blomkvist to a critical break in the case, and ushering in Lisbeth’s vengeance and the resolution to her entanglements with Bjurman.
In the reverse angle, Lisbeth is shown in a low angle: a classic film grammar expression for their newly re-calibrated power dynamic. Also notable is the unbalanced and aggressive diagonal angles of the background, centered on Lisbeth, giving the sense of both her antagonism and potential lack of mental stability.
As Bjurman is forced to watch a video of his crimes, a new set of angles is introduced: Bjurman’s body stretches symmetrically over the entire frame of these center-punched shots, showing his imminent compulsion to view this new and devastating evidence.
In a wide shot, a bright doorway draws graphic attention away from Lisbeth, who sits partially obscured by foreground elements and in relative darkness on the opposite side of the frame. This shift of graphic focus away from Lisbeth gives a sense of her emotional retreat from the pain caused by the video.
Lisbeth’s arms float across the foreground and effortlessly obscure a graphically minuscule Bjurman, giving a sense of her new-found ability to forcibly manipulate him.
With a beat change in the scene, a new set of high angles is introduced. These shots extend visual ideas previously introduced in the scene to new extremes: Lisbeth’s large ominous silhouette obscures a relatively inconsequential Bjurman, portraying her as a powerful sinister force able to monopolize and manipulate.
A medium shot of Bjurman in takes previous ideas to new extremes as a way of displaying the extent of Lisbeth’s new power to dominate Bjurman. In this shot, Lisbeth’s silhouette does more than obscure Bjurman… it cuts him in half graphically, cementing the idea of Lisbeth’s power to shatter him.
Lisbeth is then shown in a medium close-up, her physical proximity to the wide-angle lens distorting and enlarging her face. This warped intimacy gives a sense of how Lisbeth has maliciously insinuated herself into the circumstances of Bjurman’s daily life. She will always be there, hovering over him, watching.
A dolly-out from the doorway bookends the scene. It deliberately mirrors the previous dolly-in, this time leaving the room behind, and giving a sense of finalization and closure to the Lisbeth / Bjurman relationship.
Next time, I will start examining some of the Academy Award nominated films from last year. For now, did anyone anything else of visual interest in these scenes? What’s your interpretation of the hallway dolly shots that bookend the scene?