One question I could pose here is: Maybe it's not Lisbeth who's supposed to be the main character in the center here, but journalist Blomqvist? At least his work is being protrayed in an active manner in all three movies and, as the third one ends, one can be sure he also continues to play an important role in the plot universe the three movies build up to tell. In this point it's too bad that the author of the books already died, so you can't tell who of these two main figures would continue to play a lead role. Maybe also Lisbeth's character would drop into the background because her horrible life story had been told now, so what to add new to that still? Those are points that are hard to tell what the author still had in mind intended for the further progress of what happens with those characters...
I guess, much easier to answer it is for the screentime in the third movie. Here the situation is that Lisbeth's fallen into the hands of the legal system because she had gotten critically wounded during the fight with her father. So she needed to be taken to the hospital, and there they detained her. Things would progress now towards the court case about the supposed murder of 3 people from movie number 2. So to say, the formal pathway would progress now, except for a few interferences (like the assassination attempt). Not that much action going on, or it would become pretty unrealistic. The ball noticeably lies on Blomqvist's end in movie number 3, so... that makes it somewhat logical that he's the more acting plot driver here. Lisbeth's powers to do something about the fate that threatens her are very limited here.
Two is a bit harder to judge. In number 1, Blomqvist clearly was intended to be the main acting character and Lisbeth appears like somebody who added herself to the story on own behalf from the unknown, so her role appears as more of a helper to him during his investigations. Some mysterious helper that came out of the blue. Like a secondary role. And in the end, it was mainly about Blomqvist's case clearing up. Salander could head off with some millions she stole.
In Two, whereas, it appears like an accident at all, to me, that the paths of the two cross again. Like something that would normally be pretty unrealistic. On an artistic base, I could say... maybe here was the intention first to just further progress with Blomqvist's "life as usual" - him getting pointed at a new case of research for his magazine - and then with Lisbeth's each of the two on their own. That's why the plotlines have been knit rather parallel of each other, but the moments they really meet are rare and short. An element forcing the stories of the two to cross again is as it turns out one of the dead people from Blomqvist's plotline of investigation is Lisbeth's currently acting legal guardian. So that makes it inevitable for him to not head after her and find her. (In fact, the way she let the perpetrator guy die in the first movie, it could have very well been the case that she had become a serial killer, acting out wishes for revenge on people of a certain type. With her lifestyle of stealing money via hacking and then going on travels in disguise...)
One thing I have to mention here is: Maybe the TV-series version of telling the plot offers more material on why also Lisbeth shows that kind of trust towards the journalist while she otherwise appears as distrustful against a lot of people. 'Cause the movies are like shortened-down versions of a TV mini series that became so successful that they decided to bring it to the cinemas as movie versions. But, as it may be obvious in that aspect, a series has more space and screen time to show more details. Maybe some details shown in that explain some actions better, more conclusively. The TV series version of the plot, admittedly, I've never seen. I've only seen glimpses of it in a comparison against each other. And from that I know, the amount of material is indeed larger in the series version. So it could be, this material is something that is a bit missing in this story to fully grasp it or say "okay, now I get the shift".
no subject
One question I could pose here is: Maybe it's not Lisbeth who's supposed to be the main character in the center here, but journalist Blomqvist?
At least his work is being protrayed in an active manner in all three movies and, as the third one ends, one can be sure he also continues to play an important role in the plot universe the three movies build up to tell.
In this point it's too bad that the author of the books already died, so you can't tell who of these two main figures would continue to play a lead role. Maybe also Lisbeth's character would drop into the background because her horrible life story had been told now, so what to add new to that still? Those are points that are hard to tell what the author still had in mind intended for the further progress of what happens with those characters...
I guess, much easier to answer it is for the screentime in the third movie.
Here the situation is that Lisbeth's fallen into the hands of the legal system because she had gotten critically wounded during the fight with her father. So she needed to be taken to the hospital, and there they detained her.
Things would progress now towards the court case about the supposed murder of 3 people from movie number 2.
So to say, the formal pathway would progress now, except for a few interferences (like the assassination attempt). Not that much action going on, or it would become pretty unrealistic.
The ball noticeably lies on Blomqvist's end in movie number 3, so... that makes it somewhat logical that he's the more acting plot driver here. Lisbeth's powers to do something about the fate that threatens her are very limited here.
Two is a bit harder to judge.
In number 1, Blomqvist clearly was intended to be the main acting character and Lisbeth appears like somebody who added herself to the story on own behalf from the unknown, so her role appears as more of a helper to him during his investigations. Some mysterious helper that came out of the blue. Like a secondary role.
And in the end, it was mainly about Blomqvist's case clearing up. Salander could head off with some millions she stole.
In Two, whereas, it appears like an accident at all, to me, that the paths of the two cross again. Like something that would normally be pretty unrealistic.
On an artistic base, I could say... maybe here was the intention first to just further progress with Blomqvist's "life as usual" - him getting pointed at a new case of research for his magazine - and then with Lisbeth's each of the two on their own.
That's why the plotlines have been knit rather parallel of each other, but the moments they really meet are rare and short. An element forcing the stories of the two to cross again is as it turns out one of the dead people from Blomqvist's plotline of investigation is Lisbeth's currently acting legal guardian. So that makes it inevitable for him to not head after her and find her. (In fact, the way she let the perpetrator guy die in the first movie, it could have very well been the case that she had become a serial killer, acting out wishes for revenge on people of a certain type. With her lifestyle of stealing money via hacking and then going on travels in disguise...)
One thing I have to mention here is: Maybe the TV-series version of telling the plot offers more material on why also Lisbeth shows that kind of trust towards the journalist while she otherwise appears as distrustful against a lot of people.
'Cause the movies are like shortened-down versions of a TV mini series that became so successful that they decided to bring it to the cinemas as movie versions.
But, as it may be obvious in that aspect, a series has more space and screen time to show more details. Maybe some details shown in that explain some actions better, more conclusively.
The TV series version of the plot, admittedly, I've never seen. I've only seen glimpses of it in a comparison against each other. And from that I know, the amount of material is indeed larger in the series version.
So it could be, this material is something that is a bit missing in this story to fully grasp it or say "okay, now I get the shift".