Women fight back: Lisbeth Salander, part IV

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Noomi Rapace as Lisbeth Salander

To reiterate: at the end of the trilogy, Lisbeth has her freedom — she is rich, she has the legal rights of an adult, and all of her personal enemies are dead or in jail. Stieg Larsson had a fourth book planned in which Lisbeth went to Canada, with flashbacks to explain why she got the dragon tattoo that defines her. Larsson died soon after delivering the trilogy to his publisher so we don’t know what he intended, or how he (and Lisbeth) perceived that tattoo.*

To this reader (me), the tattoo is about protection – Lisbeth wants a dragon to watch her back, to protect her from enemies. But unlike Perseus, who used the gorgon’s head to slay his enemies, Lisbeth can’t set aside the dragon when it becomes burdensome – its watchfulness is part of her. And unlike Josey Wales and Patrick Jane, Lisbeth’s vengeance can’t be satisfied and justice achieved by killing the man who murdered her family; her quest is too large for that. It’s as large as a dragon or a rainbow, and just as hard to reach — Lisbeth has the audacity to believe that women have the right to be safe from abuse. Since no one else in her world seems to be doing anything to ensure this right Lisbeth takes the sword of justice into her own hands, killing or disempowering “men who hate women” when they cross her path.

While she is willing to die in the attempt to make women safer (as when she goes after her gangster father and half-brother, who have been trafficking in women), she would rather survive and live in freedom. More like Patrick Jane than Thelma and Louise, Lisbeth uses her formidable intellect, plans ahead, thinks on her feet, and controls her impulses to achieve her ends. But since her quest is endless (the world is full of misogyny and misogynists), there’s no redemption in sight for her.

As well as the problem of an endless quest for justice, Lisbeth herself has been turned to stone by abuse. Being brutalized has shaped her into someone who can exact retribution, who can be as implacable as that blindfolded goddess with the scales. But what does that do to her human side? Actor Noomi Rapace talked about how it felt to play Lisbeth when she had to “find her in me” and then “translate her into me”, which was like having the character “move in” to her own body.

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Noomi Rapace as herself

Rapace said that her initial inspiration was Patricia Arquette in True Romance — one of Rapace’s long-time favorite films, she had watched the scene where Alabama kills the hit man at least a dozen times. After reading Larsson’s books Rapace wanted to play Lisbeth but worried that she looked too “soft”. She lost weight and learned kickboxing for the audition. When she got the part she had Lisbeth’s facial piercings done instead of faking them so her portrayal would feel more authentic. And then she descended into the character for the duration, filming the three movies back to back.

Rapace said she was glad the movies were filmed all at once (in about 18 months) because she couldn’t have managed being Lisbeth over a longer period of time. As Lisbeth, Rapace was suspicious, angry, and aggressive, and this state of mind or being bled into her interactions with friends and family. At the party for completing the films, while cast and crew drank champagne to celebrate, Rapace went off by herself and vomited. She said she wasn’t ill, she was casting Lisbeth off – literally throwing Lisbeth up and out of her body so that she could go back to being Noomi. Much as she admired the character, she was ready to end the symbiosis. The peace of mind that comes to righteous avengers only visited Rapace when she was able to stop being the girl with the dragon tattoo.

*Larsson died without a will, so the rights to his books went to his father and brother, who hired another author to write the sequel. (Due out next month, with no reviews allowed until then, and no advance copies. Seems a bit odd, to say the least. You have to buy it before you can decide if you’re interested?) Eva Gabrielsson, Larsson’s partner of 30 years, has said that the sequel is not about “continuing” the characters and story (as advertised), but about making money. She was also unhappy about the way the Swedish films were hustled into production to take advantage of the books’ popularity, but in later interviews said that Noomi Rapace “made” the films, and even that Rapace “managed the literary estate” on her own, defending the character of Lisbeth Salander by refusing to do or say anything in the film that did not match the character in the books.

Women fight back: True Romance

The second movie I saw where the woman fights back and wins was much tougher to watch than Romancing the Stone. Although it’s been described as a dark romantic comedy, Quentin Tarantino’s True Romance wasn’t up there on the laugh-o-meter. The movie follows Clarence (Christian Slater), who is such an Elvis fan he talks to Elvis’s ghost (Val Kilmer) for guidance (okay, that was funny), and Clarence’s true romance with the call girl Alabama (Patricia Arquette). In a confrontation with Alabama’s pimp Clarence kills the guy, taking a suitcase of Alabama’s clothes that turns out to be a suitcase full of cocaine. To finance their happily-ever-after Clarence decides to sell the cocaine, which leads to trouble with the Mafia and the cops.

When mobster underboss Virgil (James Gandolfini) finds Alabama home alone he beats her up to find out where the cocaine is, but also to feed on her fear. He admits that seeing his victims’ terror is the only time he feels anything, so he holds off killing her even when she fights back (stabbing him in the foot with a corkscrew), because she refuses to be afraid of him. Covered in her own blood, with his gun in her face, she laughs and points at him; when he wants to know what’s funny she says, “You look ridiculous.” Because he’s not getting a response he understands, or the rush he craves, he makes the mistake of looking in the mirror. Then Alabama has the time (and the smarts) to kill him instead, throwing shampoo in his eyes, bashing him over the head with the heavy lid from the toilet tank, setting him on fire with hairspray and a cigarette lighter. She finally shoots him in the chest with a rifle, and then, in frustration that she can’t kill him more, lifts the rifle over her head and howls. Clarence returns to find her straddling a dead killer, bashing him over and over again with the rifle.

In Romancing the Stone, once Joan Wilder has acted like one of her fictional heroines and dispatched the killer she doesn’t seem to know what to do. I haven’t seen the film in awhile, but as I remember she has a moment when she nearly wrings her hands, trying to return to the damsel-in-distress romantic script to keep Jack around, or maybe in a knee-jerk attempt to get back on solid storytelling ground.

In True Romance Alabama isn’t wondering how to behave after she kills the bad guy. She isn’t ‘thinking’ at all, but expressing fury at being threatened and hurt by a brutal man, who has killed other people and enjoyed it. Maybe her fury is even at the kind of world where this happens.