Over the weekend someone posted what was apparently a pirated recording of the red band trailer for David Fincher's 'The Girl With The Dragon Tattoo'. In a matter of a day or two the trailer had accrued almost two million hits on youtube, before being removed today for a supposed violation of Sony copyright laws. But this is too perfect, really, and it reeks of a hoax. Whether it is or isn't, either way this is, to me, another example of a director who is very much aware of the current media environment and the expanded advertising playground it provides.
I've already ranted and raved about 'The Social Network', and there Fincher came into his own and gave a very long overdue 'fuck you' to the establishment (i.e. the academy that has so long ignored him for being merely an aesthetic director of little substance). He has become, more than ever, an anti-establishment punk who has finally worked his way up the ladder, subscribed to the prescribed method long enough, to be in a position of power from which he can now freely exercise his anarchistic attitude. Few others can make biting the hand that feeds you so chic and, well, badass; few others can so succinctly elucidate the milieu of youth today. And it only took him until his fifties to be able to do it. Perhaps I'm mapping my own take of his work onto him, but Fincher seems very aware of the fact that he is not of the culture he is examining; he has long outgrown it. And yet this is how this art works. The director works for years, maybe decades, to have access to the tools he or she needs to explain what he or she felt important years or decades ago.
I'm not typically a fan of remakes. In fact, I'm often vehemently opposed to it because I think it typically speaks to a certain reverse imperialism, that not only do we spread out, but everything that comes in must be converted to Americanism as well. However, here I just can't resist. 'The Girl With The Dragon Tattoo' was one of the most exhilarating mystery stories I've read in a long time, and seemed to definitively capture some of the best traits of a thriller all in one book. Seeing Fincher's cinematographic lust for the depraved, violent, and aberrant is too exciting to turn down.
As of the time of this post, the trailer is now once again available here:
http://www.youtube.com/watch?v=IIV-sWKyFno
Though it will likely follow suit and be taken down within a day or two. My guess is that even if Fincher and/or Sony/MGM pictures aren't involved in it's guerilla capture style and believably authoritarian intervention and swift removal they wouldn't object to the method of its dissemination. It's a 'punk' that is simultaneously fortified and evacuated of its definitive meaning (for if the entire process of uploading and removal is contrived then it is truly meaningless), and as long as Fincher understands (and I think he does) that punk is where you find it and to look elsewhere before he's exhausted it here, I think it'll be ok.
I've already ranted and raved about 'The Social Network', and there Fincher came into his own and gave a very long overdue 'fuck you' to the establishment (i.e. the academy that has so long ignored him for being merely an aesthetic director of little substance). He has become, more than ever, an anti-establishment punk who has finally worked his way up the ladder, subscribed to the prescribed method long enough, to be in a position of power from which he can now freely exercise his anarchistic attitude. Few others can make biting the hand that feeds you so chic and, well, badass; few others can so succinctly elucidate the milieu of youth today. And it only took him until his fifties to be able to do it. Perhaps I'm mapping my own take of his work onto him, but Fincher seems very aware of the fact that he is not of the culture he is examining; he has long outgrown it. And yet this is how this art works. The director works for years, maybe decades, to have access to the tools he or she needs to explain what he or she felt important years or decades ago.
I'm not typically a fan of remakes. In fact, I'm often vehemently opposed to it because I think it typically speaks to a certain reverse imperialism, that not only do we spread out, but everything that comes in must be converted to Americanism as well. However, here I just can't resist. 'The Girl With The Dragon Tattoo' was one of the most exhilarating mystery stories I've read in a long time, and seemed to definitively capture some of the best traits of a thriller all in one book. Seeing Fincher's cinematographic lust for the depraved, violent, and aberrant is too exciting to turn down.
As of the time of this post, the trailer is now once again available here:
http://www.youtube.com/watch?v=IIV-sWKyFno
Though it will likely follow suit and be taken down within a day or two. My guess is that even if Fincher and/or Sony/MGM pictures aren't involved in it's guerilla capture style and believably authoritarian intervention and swift removal they wouldn't object to the method of its dissemination. It's a 'punk' that is simultaneously fortified and evacuated of its definitive meaning (for if the entire process of uploading and removal is contrived then it is truly meaningless), and as long as Fincher understands (and I think he does) that punk is where you find it and to look elsewhere before he's exhausted it here, I think it'll be ok.