It might be the best performance that Fincher has ever directed. And then we have Claire Foy. Poor Claire Foy. Instead, we get to see Lisbeth in her most human form yet.
What about when she finally sees Blomkvist after months apart and manages to convey emotional range across a literal chasm? Or her ravenous appetite for truly terrible food that Foy manages to make look both appealing and repulsive?
She may occasionally be saddled with some infallible James Bond-isms — that jump into the tub during a fireball, come on — but the human moments are the ones that set her performance apart. In my day, we had Daniel Craig taking a dark and gritty vacation from actually playing James Bond. Whether because of her appearance, which is marked by tattoos, piercings, and gothic clothes, or because of her reticent, withdrawn personality, Salander finds herself often misinterpreted, dismissed, or judged by others.
Her boss at Milton Security initially pities her and believes her to be capable of only temp work. Her second guardian, as well as the court and several other authorities, judge her, at best, mentally unfit, and at worst, worthy of institutionalization.
The novel follows the ways in which Salander constantly subverts the expectations of those around her as she continues to surpass her peers in intelligence, independence, and foresight. These strengths eventually lead to her liberation from her abusive guardian and to a close relationship with Blomkvist. Declared mentally incompetent as a minor, she is subject to the will of her guardian who has complete control over her finances.
Nonetheless, she's fiercely independent, stubborn, and intelligent, and is able to use both her smarts and violence to get herself out of sticky situations. She's motivated by a desire to expose people's secrets as well as exact revenge for crimes, particularly violent crimes against women. Salander works as a contract investigator for Milton Securities, which is how she comes into contact with Mikael Blomkvist.
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