You're explaining to me the plots and character motivations of the movies, which I probably know better than you can remember them at this point, because I've just seen all the movies and you haven't seen them in a while.
But none of that has anything to do with answering my question, which is, not why do the villains want to silence Lisbeth, or how that relates to historical events in Sweden, but from a storytelling point of view, why does the principal character of the trilogy spend almost the whole of the third movie trapped offstage? Since she never does get locked up by the villains again, this is not required by their motives or anything else.
You offered to explain the meaning of the movies, but while that's nice to have, I didn't really need that. My criticism of the second and third movies' deficiencies was on the storytelling level, not the plot level. (The first movie was indeed about Nazis, but I wasn't criticizing that one. The second and third movies have no Nazis, they have a Soviet defector.) That was what I was seeking an explanation for, and I thought I said so explicitly.
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Date: 2021-03-15 02:50 am (UTC)But none of that has anything to do with answering my question, which is, not why do the villains want to silence Lisbeth, or how that relates to historical events in Sweden, but from a storytelling point of view, why does the principal character of the trilogy spend almost the whole of the third movie trapped offstage? Since she never does get locked up by the villains again, this is not required by their motives or anything else.
You offered to explain the meaning of the movies, but while that's nice to have, I didn't really need that. My criticism of the second and third movies' deficiencies was on the storytelling level, not the plot level. (The first movie was indeed about Nazis, but I wasn't criticizing that one. The second and third movies have no Nazis, they have a Soviet defector.) That was what I was seeking an explanation for, and I thought I said so explicitly.