“Girl with the Dragon Tattoo”: Women and Trauma

Two well-received and current films, The Girl with the Dragon Tattoo and Martha Marcy May Marlene, deal with serious trauma issues in the lives of women. Tomorrow’s post will focus on the second of these films.

The most recent film adaptation of Stieg Larsson‘s book The Girl with the Dragon Tattoo (2011), directed by David Fincher, is now in theaters. If you’re not familiar with the themes of this film, you may be interested to know that sexual violence against women figures prominently. The book, in fact, was originally titled Men Who Hate Women (the English translation).

RAINN, or the Rape, Abuse and Incest National Network, states on its website that the film “…illustrates the real life effects of sexual violence on victims and survivors, emphasizing the importance of getting help. Dragon Tattoo is the first of a trilogy of best selling mystery novels, about a ‘disgraced journalist and troubled young female computer hacker who investigate the mysterious disappearance of an industrialist’s niece.'”

An additional point: “…Interwoven in the film’s main plot line is a series of incidences of violence against women. Each occurrence of sexual abuse, incest, and rape highlight the severity of these crimes against the victim: while an assault may only last moments, the effects of this serious crime can haunt a victim for his or her lifetime.”

The character of Lisbeth (Rooney Mara), the “troubled young female computer hacker,” is a victim of violence who becomes a perpetrator of violence. Some viewers, whether ever victimized themselves or not, will identify with her and revel in her kick-ass attitude, and some may be unable to tolerate all the actual kick-ass. If you’re at all concerned, further reading and/or research on the film’s content may be in order.

One possible aid comes from A.O. Scott‘s (New York Times) film review: “Sexual violence is a lurid thread running through ‘The Girl With the Dragon Tattoo,’ and Mr. Fincher approaches it with queasy, teasing sensationalism. Lisbeth’s dealings with Bjurman include a vicious rape and a correspondingly brutal act of revenge, and there is something prurient and salacious about the way the initial assault is filmed. The vengeance, while graphic, is visually more circumspect.”

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