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Girl Who Played with Fire, The

original title: Flickan som lekte med elden

Comparison:

  • Theatrical Version
  • Extended Version (Part 2)
Release: Nov 25, 2010 - Author: Muck47 - Translator: DaxRider123 - external link: IMDB
Comparison between the Theatrical Version (German DVD) and the Extended Version (Dutch DVD)


German DVD: 120:11 min credits excluded (124:14 min credits included) in PAL
Dutch DVD: 177:23 min credits excluded (178:45 min credits included) in PAL
* Part 1: 88:53 min credits excluded (89:23 min credits included)
* Part 2: 88:50 min credits excluded (89:22 min credits included)


541 different scenes, consisting of
- 223x alternate footage
- 42 scenes which are longer in the Theatrical Version
- 30 recuts
- 5 digital modifications
- 1x modified speed

Difference: 54:31 min



Stieg Larsson and the "Millennium"-Trilogy


Swedish journalist and author Stieg Larsson was not able to witniss the zenith of his career - just as many others before him. After he died of a heart attack in 2004, 3 of his mystery novels were released posthumous in the following years - resulting in (so far) 15 million sold copies - a surprising international success.
His Millennium-Trilogy is about economic journalist Mikael Blomkvist who writes his articles for a journal called "Millennium". In every book, he's confronted with very tricky issues. But there's an even more interesting caracter - hacker Lisbeth Salander who helps him out every time. Ever since she was a juvenile she's declared insane - no wonder she always scandalizes because of her very odd behavior.
Throughout his books you always recognize Larsson's background: he was one of the editors of the antifascist magazine "Expo" and said to be an expert in knowing right-wing movements. Especially in the first book of the trilogy there are quite a few allusions to this topic.

The first Part of the trilogy - "Män som hatar kvinnor" (which would translate to "Men who hate Women" - instead it was released as "The Girl with the Dragon Tattoo") - was released in 2005 and is about a girl from an economically very influential family that disappeared about 40 years ago. Over the course of the story, the family's shady past is brought to light.
In 2006, the sequel "Flickan som lekte med elden" (English title: "The Girl who Played with the Fire" - an accurate translation) was released. At the beginning of the book, one of Millennium's writers is killed shortly before he's able to release an essay about human trafficking. Over the course of the book, Lisbeth becomes one of the suspects - a lot of ther traumatic childhood is brought to light.
In 2007, the last (complete) novel "Luftslottet som sprängdes" (which would translate to something like "The blown up cloud-caslte" - it was released as "The Girl Who Kicked the Hornets' Nest"). It continues right were the second book left off, carrying forward the open ending. Since we do not want to give away too much, all we have to tell you is that Lisbeth's development again plays an important role in this book.
Overall, Larsson planned to release 10 Millennium-books. There do exist fragments of the parts four to six, but Larsson's life companion keeps them under tight wraps.



The Movie Versions


Between the years 2009 and 2010, the trilogy was made into three movies. It is a Swedis-Danish-German co-production and all the actors speak Swedish. Intentionally it was planned to become a 6-episode TV miniseries (2x 90 min per book) but then it was decided to release all three parts in the theatres in a shorter version. Even though the movies all have a run time of more than 2 hours, every movie misses about 30 minutes of footage that didn't make it into the movie but would have been shown on TV.

As early as June 2010, these longer TV versions were aired on Swedish televison. Yet still, it is possible to make a movie-censorship report about it - the TV versions have been released on DVD in the Netherlands (with a little label on the cover that says "Extended Version"). Because of the length, the movie was split in half and put on two DVDs.


Just as usual, an American remake of the movie is already planned: Director David Fincher plans to release the first in 2011. Daniel Craig will take the part of journalist Mikael Blomkvist, Rooney Mara (Nightmare On Elm Street 2010) will be Lisbeth Salander.



Millennium 2: Differences between the Movie and the Book


It ought to be obvious for anybody that, in comparison to the novel, some details are missing in the movie. Especially if the novel we're talking about comprises approx. 700 pages averagely like Larsson's trilogy. With the ulterior motives that the Extended Versions have more space for the details, introductory the most distinctive differences between the novel and the movie. Not claiming to be complete, the following might be the most surprising difference for connoisseurs of the novel:


Caribbian Layover
The first 100 pages of the novel describe Lisbeth's hotel layover in the Caribbian very detailed. She has noticed a suspicious man and finds out he abuses his wife. With the arrival of a dangerous storm and the evacuation of all the people, she kills him - or to be more specific: she saves the wife at the last second. She is being supported by the teen George with whom she's begun an affair.

The movie only shows her departure from the Caribbean in the first 5 min. Both, the husband and George, don't show up at all.


Investigations of the police
Larsson's novel contains much more implications around that, which means there are much more secondary characters and plots in it.
The investigation team gets help from Lisbeth's former employer Milton Security, several staff members help with the investigation. From Armanskij's POV because he just wants to know the truth, from the police's POV because of potential clues. As a result of that there are two problems: one wants to send Lisbteh to her doom because an incident in former times, another one tells the press (similar to the plot with Janne in The Girl With The Dragon Tattoo, which was also left out in the movie). Furthermore there are some spats between the team members of the police as well. Macho Faste clashes with Sonja Modig several times which leads to some intrigues.


Malicious campaign in the media
Both, Lisbeth and her friend Miriam, needs to endure scolding and spin from the media. The picture of a menatlly ill killing lesbian is being drawn and the incidents in the past worked off sensationally (the harmless girl clique / former rockband "Evil Fingers" becomes a bunch of satanists). Extensively in charge is Faste who obsesses more and more in sexist hints.

Even though there are some hints in the movie, it's absolutely no comparison to the novel.


Lisbeth's innocence
In the novel, Lisbeth is not only being pilloried by the media but also the reader might get some doubts. The murder of Dag & Mia is only being described from Mikael's POV and the reader doesn't have a clue what really happened that evening for 150 pages. There might be enough sympathy for our heroine by now, but there are still enough clues to keep the suspense up and to consider that she has probably lost her head for some reason.

In opposite to that, in the movie it's clear that she's innocent the entire time and after making contact, which is much more uncomplicated btw, Mikael finds exonerating material way earlier.


Apart from that there are lots of smaller differences, e.g.
Lisbeth is supposed to get kidnapped by Niedermann. Mikael coincidentally witnessed the failed attempt to kidnap her and gets her bag she left there. That's why he's in possession of the key to her appartment whereas he gets the key from Miriam in the hospital in the movie.
Lisbeth's second identity "Irene Nesser" is being used very often in the novel, of course just at the beginning in the Caribbian and she also can afford her huge appartment due to her false identity. In the movie nothing of this really matters, she only wears a wig once when she's shopping.
Similar to The Girl With The Dragon Tattoo, the movie doesn't contain a lot of scenes which show Mikael as womanizer. Certainly he also has an affair with Harriet Vanger, the girl he saved in the prequel. In the movie the character doesn't show up.
Generally the chronological process is very different and many cognitions are being sumarized in the movie, e.g. everything happens at one meeting of the characters, not at two.




Millennium 2: The Additions of the Extended Version


The Extended Version is non-qualified for people who even consider the Theatrical Version too long. But then again the Extended Version might be too short for people who are familiar with the novel because of the above mentioned missing storylines. Some of the first underlined differences are indeed in the movie, eben though they are less spectacular than they were in the prequel. A lot of storylines are still missing, despite the difference of 55 min.

The Caribbean layover is very short here as well. I figure it was a matter of the budget that the bombastic storm, which has nothing to do with the main plot, is missing. Nevertheless Lisbeth's teeny lover George has an appearance in the Extended Version.
There are many extensions in the police investigations, e.g. the traitor is in it, too. Most of the new footage is about the conflict between Faste and Sonja.
As a result of that, the audience gets at least a slight impression of Miriam's suffering and the malicious campagne is more detailed. Faste interrogates her and due to an alternate shot of the newspaper headline plus the more detailed investigation of Liesbeth's/Miriam's appartment refer to the satanistic girl clique.
As far as Lisbeth's innocence is concerned: it's reasonable why investigator Bublanski changes his mind, thanks to two new scenes. In opposite to the Theatrical Version, the Extended Version contains the conversations between Armanskij and Mikael where he realizes the differences in the psychiatric report.
Furthermore there are more statements of Palmgren which means more information about Lisbeth's childhood. Another scene implies Lisbeth is responsable for Palgren's recovery.
The last issue is a perfect example for new scenes that aren't important for the main plot but for the better characterization.

For the rest one can argue if the Extended Version fulfills the novel and leaves another impression to the audience. Anyway entire sequences are different here and some of them are split up (but it's also the other way around, some of the sequences are connected in the Extended Version) or removed. These things are really positive for the introduction of the character Paolo, the boxer. He doesn't get involved in Miriam's kidnapping out of the blue anymore.

It's also obvious that a lot of footage from the Theatrical Version has been removed. A nice knack is worth being mentioned in that context: all shots which show Paolo and Miriam coming out of the burning storehouse have been removed. The reason is simple: the first part of the TV Version ends here and the suspected death of two important secondary characters is an amazing cliffhanger.

To sum it up, the Extended Version contains way more than 60 min of new footage. The footage, which is exclusively in the Theatrical Version, has already been substracted.

Worth being underlined are, similar to The Girl With The Dragon Tattoo, the new opening credits in the Extended Version. Each part shows an additional montage of drawn pictures, which show actually scenes from the upcoming movie, in the background.


Moreover I'd like to mention what is actually pretty obvious when the comparison is being split in two parts: it's a nightmare for any author. Several shots have obviously been shortened for the Theatrical Version / are longer in the Extended Version - without showing anything new. The same with uncountable differences named alternate footage. The workprint seems to be completely new cut, that's why shot A is longer in the Theatrical Version while shot B starts earlier in the Extended Version.... and the other way around. Of course there are also the above mentioned removed scenes which have been reinsert anywhere else and also new scenes. Be that as it may, very often there are 20 differences in one scene and almost none of the differences can be noticed by just watching it. That's why more than half of the differences might be of no interest for the regular viewer.
Anyway, these differences are mentioned because it has nothing to do with jumpcuts or sth. as known from older movies. If the material is unspectacular without dialogs the letters are smaller than regular.



Releases


This is where it's getting a little tricky - there does not really exist a release that can be enjoyed by english-speaking customers without problems. The DVDs that were released in North America and Great Britain all only contain the Theatrical Version. Even though there exists an extended DVD-Version for every movie, they were only released in the Netherlands - and they only contain the Swedish soundtrack and optional Dutch subtitles.
However, if you're able to understand Dutch, you're in for a gread product: The DVDs are packaged as a digipak with an imprint. If you have a Blu-Ray player, you can also purchase the Extended Versions on Blu-Ray. The two DVDs all include about 80 minutes of exclusie bonus material (some of this bonus material is in English!).



The runtime is ordered as follows:
Theatrical Version (German DVD) / Extended Version (Dutch DVDs - part 1+2 each have an individual index)





Note:

Due to the fact that the scenes, which pop up at a different time now, are different/extended, everything is mentioned when these scenes showed up in the Theatrical Version to make it clearer. These scenes are framed to make it more clearly.



Hier klicken für den Schnittbericht zu Teil 2 von Verdammnis




Millennium 2: Part 2




Alternative / Recut / Credits
58:47-59:43 / 00:00-02:49

Alternative "start" for the 2nd part.


Theatrical Version

- Paolo calls Mikael to inform him about the hospital stay (not included in the EV!).


- Inside his appartment Mikael goes to his laptop to read Lisbeth's e-mail. This was already included in the first part of the EV in a slightly different order - here it was included in the long sequence of the Theatrical Version.

59:26 / Part 1 89:32-89:35

Mikael sits longer in front of his laptop; the screen flashes slightly earlier: he clicks at the first mail before it is shown on the screen.

3.2 sec




Alternative / Recut
59:35-59:43 / Teil 1 89:44-89:53

In the EV, Mikael is shown longer and you aslo see him leaving, then the movie fades to black which marks the end of the first part (not illustrated).
The Theatrical Version instead re-inserts a part of the shot of Lisbeth in front of her laptop that in the EV was shown before Mikael reads the e-mail. Therefore it is a recut in a recut - a reason to abandon a time designation... anyway, the shot of Lisbeth begins earlier in the EV, but the end of the scene is 2 seconds longer in the Theatrical Version.


Besides, in the Theatrical Version Lisbeth lectures the e-mail (off-screen), in the EV Mikael reads it aloud.


Extended Version

First Credits + Flashback to Part 1 of "Millennium 2", followed by the already known exclusive opening credits.


At the end of the scene, the shot inside the hospital begins slightly earlier - the display of the title of course is another EV-exclusive. Shortly after the title there are some more (EV-exclusive) credits, which won't be mentioned more detailed.


EV 114 sec longer




Alternative
59:48-59:52 / 02:54-03:02

The first shot of Paolo is different, and the scenes before and after this sequence offer senseless extensions/curtations.

EV 3.7 sec longer



Alternative
59:55-59:56 / 03:05-03:06

Paolo longer vs Mikael earlier.

No difference in time.



Alternative
60:02-60:05 / 03:12-03:16

Ditto.

EV 0.6 sec longer



Alternativ
60:08-60:10 / 03:19-03:25

Paolo in the EV distinctly earlier.

EV 3.9 sec longer



60:13 / 03:28

Two sequences offer minor extensions.

0.6 sec



60:21 / 03:36-03:37

Ditto.

1.1 sec





Alternative
60:23-60:28 / 03:39-03:51

The EV briefly shows Paolo talking about all the ineffective hits. Corresponding you see a flashback to the fight against Niedermann.

In the Theatrical Version you instead see Mikael a little longer and then Paolo a little earlier (not illustrated).

EV 7.2 sec longer




60:32 / 03:55-03:56

Bublanski in the hallway inconsiderably earlier.

0.5 sec



60:51 / 04:15

A sequence is longer.

0.5 sec



60:53 / 04:17-04:18

Again, a longer shot after Sonja's question.

1 sec





Alternative
61:03-67:09 / 04:28-06:55

Again, both questions are completely different. After the conversation with Sonja Modig inside the hospital the two versions are close to follow the same course again when Lisbeth pays Bjurman's holiday home a visit.


Theatrical Version

- Meeting at Millennium

Alternative
61:02-61:35 / 19:21-19:26

The Theatrical Version begins distinctly earlier.
Mikael says that by now, 29 of the freers could be identified - therefore they are potential murders. Malin took care of those who were identified so far - he compared them to Mia's book and recognized some of them. Based on this information one could go on investigating.
At the end, Mikael says that he wants to go on confronting the freers with the material.


Whereas in the EV you see another shot of Mikael in front of the wall where he solely talks about confronting them.


Theatrical Version 27.6 sec longer



Alternative
61:42-61:45 / 19:32-19:37

The EV shows Christer in front of the pinboard for the first time, followed by a closer shot of Erika.

In the Theatrical Version however, there's just the previous shot of Erika - however it's shown distinctly longer (not illustrated).

EV 1.8 sec longer




Theatrical Version longer
61:55-61:57 / 19:47

Erika longer and Mikael earlier in the Theatrical Version.

+ 2 sec



62:03 / 19:53-19:54

The last shot is a little longer.

1.2 sec


- Mikael calls Gunnar and blackmails him to achieve another meeting.

Alternativ
62:03-63:07 / 19:54-20:29

Both versions at this point are constructed completely different.
In the EV you consistantly see Mikael at the office on the phone, while the Theatrical Version again ang again cuts to Gunnar inide a flower shop. Even though there are some missing shots of the longer sequnence of Mikael, it still offers more dialogue.
(Images refer to the Theatrical Version)

Theatrical Version 29.4 sec longer



- The meeting

Alternativ
63:15-63:16 / 21:22-21:23

In the EV shot A is longer, while in the Theatrical Version shot B starts earlier.

No difference in time.





63:25 / 21:32-21:45

The shot begins distinctly earlier and Gunnar says that Zala is a person that Mikael really does not want to find.

12.9 sec




Alternative
64:05-65:16 / 22:25-22:29

A long additional shot of Gunnar and Mikael was not included in the EV. Gunnar talks about the murder of a man in the embassy in Madrid that happened after requested asylum in Sweden.

In the EV only the following shot begins a little earlier (not illustrated).

Theatrical Version 67 sec longer




Theatrical Version longer
66:12-66:13 / 23:25

In the Theatrical Version, the shot begins inconsiderably earlier.

+ 1 sec





Alternative
66:22-66:28 / 23:34-23:39

The EV shows a closer shot of Gunnar gazing after the woman. The Theatrical Version's distance shot is longer.

Theatrical Version 1.4 sec longer

Theatrical VersionExtended Version




Alternative
66:30-66:32 / 23:41-23:43

In the EV Mikael longer, in the Theatrical Version Gunnar accordingly earlier.

EV 0.4 sec longer



66:55 / 24:06

A shot of Gunnar inconsiderably earlier.

0.3 sec



67:04 / 24:15-24:16

Ditto when Gunnar leaves.

0.4 sec



67:09 / 24:21-24:22

The last shot is slightly longer.

1 sec


Extended Version

Three new scenes that were not included in the Theatrical Version.


- Longer inside the hospital: Mikael talks to Bublanski.

He hints at Zala who is also mentioned in Dag's research paper. Bublanski asks how Bjurman could be brought into line and Mikael admits that his theory still has some holes. However, there should also be a connection between Bjurman and Zala. Bublanski says goodbye and enters a room.


- Anoter surprise visit at Gunnar's.

Mikael hints at the unmasked lie; by this time he figured out that Gunnar worked for the security police with Bjurman in the 70's. Gunnar tries to explain it away but MIkael brings Zala into play. After a short heart-stopping moment and some hesitation Gunnar suggests a deal: If he tells Mikael something about Zala, the latter has to cross out Gunnar's name in his story.


- Lisbeth drives to Bjurman's holiday home by bus; she wears a hoodie and sits in between a group of juveniles.


Theatrical Version 219.5 sec longer




Recut
67:17 / 07:03-08:39

In the EV, Lisbeth's walk towards the house is interrupted by the scene where Niedermann arrives at Svavelsjö MC. In the end, Sonny hits the road.
This is included later in the Theatrical Version.

95.4 sec


67:41 / 09:03

Lisbeth walks longer.

0.8 sec




67:58 / 09:20-09:22

Earlier inside the building.

2.4 sec




Theatrical Version longer
68:21 / 09:45

Lisbeth sneaks through the stuff a little longer in the Theatrical Version.

+ 0.3 sec






Alternative
68:30-70:05 / 09:54-10:08

Here you in the Theatrical Version see Niedermann arriving at the club - Sonny sends him away. Then follows a cut to Lisbeth inside.

68:40 / 07:13-07:14

A shot is inconsiderably longer.

0.5 sec



Theatrical Version longer
69:15-69:16 / 07:49

A shot (Niedermann from the side) starts earlier in the Theatrical Version.

+ 1 sec



Theatrical Version longer
69:55 / 08:28

Niedermann inconsiderably longer in the Theatrical Version.

+ 0.3 sec



In the EV however, you see a long new shot of the journey.


Theatrical Version 81.3 sec longer




70:51 / 10:54-10:57

An additional shot of the brothers on their bikes. The following shot starts inconsiderably earlier.

2.9 sec




Alternative
70:56-71:00 / 11:02-11:03

In the Theatrical Version now follows a different shot of the brothers on their bikes.
The EV, however, shows the prior shot a little longer (not illustrated).

Theatrical Version 2.7 sec longer




71:04 / 11:07-11:08

Lisbeth goes towards the door a little longer.

0.9 sec





Alternative
71:12-71:16 / 11:16-11:20

In the Theatrical Version the shot is not interrupted, while the EV every now and then cuts to a different perspective (Lisbeth's feet) where the bag is put at.

No difference in time.

Theatrical VersionExtended Version




Alternative
71:30-71:36 / 11:34-11:40

In the Theatrical Version the shot of Sonny begins a little earlier - however, it stops earlier as well.
In the EV you only have a longer shot where Sonny enters the picture from the left - the beginning and the end of this scene were trimmed in comparison to the Theatrical Version.

No difference in time.



71:41 / 11:45-11:46

Lisbeth slightly longer.

0.4 sec



71:56 / 12:01-12:02

Ditto.

0.8 sec



71:58 / 12:04-12:05

Magge longer.

0.9 sec



72:00 / 12:07-12:08

Ditto.

1.6 sec



Theatrical Version longer
72:15 / 12:23

Magge in the Theatrical Version slightly earlier when he wants to strike.

+ 0.4 sec



Alternative
72:17-72:18 / 12:25-12:26

In the EV there is a medium long shot, while in the Theatrical Version the following shot of Magge starts earlier.

No difference in time.



72:23 / 12:31

A shot of Magge (with pepper spray in his eyes) starts earlier.

0.3 sec



Theatrical Version longer
72:25 / 12:33

However, this shot stops earlier in the EV when Lisbeth kicks him again.

+ 0.3 sec



Alternative
73:00-73:01 / 13:08-13:09

In the Theatrical Version the last shot of Lisbeth (who leaves) is longer, while in the EV the first shot of her bike ride starts earlier.

Theatrical Version 0.3 sec longer



Alternative
73:09-73:10 / 13:17-13:18

Again something similar.

EV 0.3 sec longer





73:31 / 13:39-16:28

Longer extensions in the EV: While Lisbeth in the Theatrical Version immediately arrives with her motorcycle, the EV includes another meeting at the police office. Then follows a meeting of Ekström, Bublanski and Sonja.
The prior shot of Lisbeth is also longer and in the end there's an additional shot of her driving before she stops.


Bublanski issues instructions - Sonja and Niklas should go through the list of persons from Dag's report. Faste, however, should find out something about the frequently mentioned Zala. Additionally he plans to incorporate an external team (a reference to Milton Security). Faste is not at all happy with these instructions, in his opinion they should concentrate all their efforts on Lisbeth. He lists all the damning proofs of her guilt - Bublanski answers that they should also take other traces into account. When Faste again brings the sexual preferences into play, Bublanski starts to get angry and calls his obsession unprofessional.
After the discussion calmed a bit, Bublanski tells them not to give any statements (involving information about Paolo Robert) in the presence of the press. Suitably, Ekström enters the room and wants to know who of them is the spy - he holds a newspaper with Miriam Wu on the cover in his hands.

Then follows a cut to Ekström, Bublanski and Sonja in Ekström's office. He says that he can't proof anything but that he doesn't trust them anymore. Sonja is said to be the guilty part and is excluded from the case. She's forced to take time off for the rest of the day. After Sonja left, Bublanski looks at him angrily.

168.5 sec




Alternative / Re-Cut
73:54-74:49 / 16:51-26:01

Again, both versions differ a lot from each other - until Mikael pays Palmgren a visit.


Theatrical Version

- Niedermann looks through the window and then hits the road.

73:57 / 33:12-33:14

A first shot inside, Niedermann switches the channel.

2.5 sec




Alternative
74:02-74:06 / 33:19-33:26

In the EV Niedermann is shown longer, then something completely different is shown on TV.

EV 3.2 sec longer

Theatrical VersionExtended Version




74:27 / 33:47-33:54

Niedermann gets up and leaves.

7.1 sec




74:37 / 34:04-34:05

Niedermann is shown in his car inconsiderably earlier.

0.9 sec



Alternative
74:47 / 34:15

Random curtations/extensions in both versions.

No difference in time.


Extended Version

- Lisbeth walks away distinctly longer.

- New scene: Bublanski enters Sonja's office - the latter is still depressed because of being excluded from the case. Bublanski wants to send her to Mikael to search through Dag's material.


- New scene: Jerker calls Bublanski from the burnt down warehouse. The latter notices that Niklas is the one who gave information to the press.

Jerker says that the fire was now extinguished - interestingly enough they found some buried corpses. Obviously, the victims were carved up with a chainsaw - at least they found one nearby. However, Bublanski says that Miriam was threatened with a chainsaw as well.
Subsequently, he wants to send Niklas as reinforcement but he is not in his office. When Niklas cellphone rings (he left it on his desk), Bublanksi hesitates for a short while, then he answers the phone. A Tony wants to thank him for the information that he received. Bublanski asks 'Tony Scalia?' and the journalist in question quickly hangs up.


- Meeting at Millennium (begins later than in the Theatrical Version, for these variances see 61:03)
- Mikael blackmails Gunnar to get another meeting (see above)


- New scene: Bublanski and Sonja talk about what to do next, now that they found out the real spy.

Bublanski says that he wants to report Niklas to the police, however, Ekström is not beyond doing this. He also mentions that Niklas called Tony five minutes after the last meeting.
In the end, Bublanski says that Sonja is officially back in the team but she should not wait for Ekström to appologize.


- Mikael's and Gunnar's meeting

- New scene: Bublanski visits the crime scene in front of Bjurman's vacation apartment.

He can't believe that Lisbeth apparently took out two bigwigs of the Svavelsjö MC. Jerker says that after all, she was trained by Paolo Roberto and also lists all of the injuries of the Lundin-brothers. Regarding Sonny he adds that he seems to have been involved in Miriam Wu's kidnapping.


- New scene: Sonja at Millennium (just as she was told to a few moments ago).

She only looks at the pinboard while Erika in the background phones Mikael. The latter's information about Gunnar are rather vague. When Erika mentions Sonja, Mikael says that he will stop by later. Before that he goes to Palmgren (which is then also included in the Theatrical Version).


EV 495.4 sec longer




Alternative
75:18-75:25 / 26:30-26:37

In the Theatrical Version you in between see Palmgren in a close up shot, while the EV constantly shows the scene in a medium long shot.

No difference in time.

Theatrical VersionExtended Version




75:36 / 26:48-26:49

Shortened scene.

0.8 sec



Only Theatrical Version longer
75:41 / 26:54

Theatrical Version trivially longer.

+ 0.4 sec



76:06 / 27:19

Mikael longer.

0.5 sec



76:11 / 27:24-27:25

Minor extensions.

1 sec





76:15 / 27:29-28:01

First Mikael slightly longer, then an additional shot of Lisbeth going to her house. On her way she looks around for potential lurker.

32 sec




Alternate / Recut
76:26-76:56 / 28:12-29:47

Again distinct differences when Lisbeth looks through the files. The Theatrical Version has been shortened by using the conversation as voice over during another montage.


Theatrical Version

Lisbeth's picture, then she turns over and a letter from the St. Stefans clinic shows up. Palmgren talks about her mother via voice over and there's also a short shot of him. Lisbeth gets her pictures as a kid and looks at them, one after another. Again a shot of her, followed by a close-up of Palmgren (when he terminates the connection to Zala/Salamander).


Extended Version

First the clue to the clinic, then some documents about the former written conversation between Teleborian and Gunnar about the phony report next to her picure. It's also in the Theatrical Version, but later. Parts of the reports are audible via voice over. She looks at the pictures with more jumpcuts and some different moments of each picture, the shot is being interrupted by some short shots of her several times.

The conversation between Palmgren and Mikael starts distinctly earlier and, in opposite to the Theatrical Version, not offscreen. There are also one or two irrelevant sentences more. Except that the Extended Version is almost identical with the Theatrical Version.


Extended Version 65.1 sec longer




Alternate
76:58-77:02 / 29:49-30:05

Palgrem for a short period in the Theatrical Version (no screens).
The Extended Version stays longer with Mikael going back, then a longer part of the shot of Palmgren. Finally Mikael slightly earlier.

Extended Version 12.1 sec longer




Alternate
77:05-77:08 / 30:08-30:11

Mikael longer in the Theatrical Version, Palmgren earlier in the Extended Version.

Extended Version 0.4 sec longer



Alternate
77:15-77:27 / 30:18-30:33

First Palmgren, then an alternate shot of Mikael walking around in the Extended Version. The following shot of Palmgren starts later than it does in the Theatrical Version.

Extended Version 2.6 sec longer





Alternate / Recut
77:35-79:12 / 30:41-36:21

Now a longer sequence with many equal shots, but summarized due to the different order. One can say the Extended Version contains the conversation between Mikael and Palmgren without interruptions, which is also longer. Palmgren talks about the abuse of Lisbeth's mother e.g.

Furthermore a nurse comes in at the end, that's why Mikael goes away with Palmgren. While leaving, he mentions Lisbeth's photographic memory but Mikael is already familiar with that.


The Theatrical Version instead is being interrupted by shots of Lisbeth looking through the documents (here the mails from Teleborian and Gunnar show up in a shortened version as well) and flashbacks of her attempt to murder Zala as a kid.



Afterwards further scene follow only in the Extended Version before the versions are synchronized again with the conversation between Bublanski and Mikael in the car:

- Niedermann watches TV and hits the road, see above for details


- New scene: further conversation between Mikael and Palmgren.

The conversation is about the connection between Teleborian and Björk plus Lisbeth's childhood in the mental hospital. Palmgren says she just was one of many children with problems at a first glance and he relied on Teleborian's report at first. He adds he wanted to get her out of the hospital and the declaration to cease and desist was the compromise. From that point he was considered as the person in charge for her. Finally the conincidental follow-up Bjurman is being mentioned.


- New scene: meeting of the investigators.

Ekström mentions the risen attention by the media due to Paolo's participation and says the focus should be on the investigations. Tracking shot of Bublanski who gets out his cell; he was obviously being informed by Mikael because they meet in front of the police building.


Extended Version 243.3 sec longer





79:31 / 36:41-36:46

Mikael earlier. He says Alexander Zalatschenko was usually known as "Zala".

5.6 sec




79:46 / 37:01

Bublanski slightly longer.

0.3 sec



80:22 / 37:37-37:38

Another extended shot.

0.9 sec



80:24 / 37:40-37:41

Ditto.

0.5 sec



80:29 / 37:46-37:47

Mikael earlier.

0.8 sec





Only Theatrical Version longer
80:38-80:41 / 37:56

Bublanski earlier in the Theatrical Version.

+ 2.2 sec





Alternate
80:48-80:50 / 38:03-38:05

Extended shot of Mikael in the Theatrical Version (no screens), additional shot of the inside when Bublanski gets out.

no difference




Alternate
80:58-82:09 / 38:13-39:34

Now the scene with Lisbeth in the Theatrical Version. She notices Miriam on the front page while running some errands - already shown in the Extended Version in Part 1!

Alternate
81:03-81:15 / Teil 1 68:12-68:26

In th Theatrical Version, Lisbeth pays and leaves. Then the title page with Paolo Roberto as savior in the attemtped kidnapping of Lisbeth on it.


The Extended Version instead shows the cashier first, then an alternate closer shot of Lisbeth with the bags. Curiously enough another title page, which talks of a lesbian satanist (mainly because the investigations are much more detailed in the Extended Version and the scene has already been shown before the avoided attempt of kidnapping Miriam).


Extended Version 1.8 sec longer




Alternate
81:17-81:34 / Teil 1 68:28-68:41

Last but not least an alternate shot of Lisbeth leaving. Only the Theatrical Version comes up with a voice over of the press conference (logically because the Extended Version goes on with an entirely different scene).

Theatrical Version 4.6 sec longer

Theatrical VersionExtended Version



After that, a shot of Lisbeth watching the press conference.

The Extended Version comes up with that earlier and contains alternate shots.


A destinctly shortened version in the Theatrical Version.


Extended Version 9.6 sec longer




82:14 / 39:39-39:40

Shortened transfer from one shot to another.

1.2 sec



82:24 / 39:50-39:52

Lisbeth longer.

1.8 sec





Alternate
82:28-82:28 / 39:56-39:57

Another additional shot of Niedermann's car in the Extended Version, an earlier beginning of the following shot of Lisbeth in the Theatrical Version instead (no screens).

Extended Version 0.5 sec longer




82:34 / 40:03-40:51

The news report is being interrupted by an additional scene in the Extended Version: Lisbeth calls car rental and explains under a false name her dog had been run over and she had gotten the company's name by running the license plate. She asks for the driver's name and explains she was going to take care of it on her own. The employee on the other side doesn't want to help her and explains he couldn't give her the name without a charge being filed at the police.

48.2 sec




83:11 / 41:28-41:34

Erika goes desperately backwards.

5.8 sec




Alternate
83:24-84:29 / 41:47-41:54

Now a shot of Lisbeth in the Theatrical Version. She listens to Teleborian's statement on TV and remembers the abuses. There was a similar scene in the middle of Part 1 in the Extended Version, but in different context and with different footage of Lisbeth's agonies as a kid (more than 60 min ago in the Extended Version). Not really compared due to the massive variations.

Then a dissolve to Mikael at the computer.


Extended shot of Mikael crossing the road beforehand in the Extended Version. The following shot of him starts earlier, without a dissolve.


Theatrical Version 58 sec longer




84:31 / 41:56-41:59

Mikael longer and his fingers on the keyboard earlier.

2.9 sec


84:41 / 42:09-43:19

Here it's being revealed how much the Theatrical Version has been tightened up. One can see Lisbeth sitting thoughtfully at the window while Mikael is reading the mail offscreen.
In the Extended Version instead, he reads the mail in different shots of Lisbeth in bed. Then she gets up, walks over to the computer and reads the mail.

70.4 sec




84:49 / 43:27-43:30

Lisbeth requires more time to open the the box of cigarettes.

2.6 sec





Only Theatrical Version longer
85:05-85:15 / 43:46

Extended shot of Lisbeth in the Theatrical Version, then a shot of her in front of the computer, finding the address of the car rental.

(That scene was apparently redundant in the Extended Version, due to her previous phone conversation.)

+ 10.2 sec




85:32 / 44:03-44:04

Exterior shot slightly longer.

0.8 sec



85:45 / 44:17

The hallway in the hospital slightly longer.

0.8 sec





85:53 / 44:25-44:30

Miriam struggles first because she doesn't recognize Lisbeth immediately plus a cut to her.

4.8 sec




Alternate
86:07-86:09 / 44:44-44:46

Extended shot of Lisbeth with the picture in the Theatrical Version, the shot of Miriam begins earlier in the Extended Version.

no difference





86:13 / 44:50-44:56

Lisbeth distinctly earlier.

6 sec




86:57 / 45:40-45:42

Cut to Lisbeth and Miriam at the end after the patient woke up.

2.1 sec




87:29 / 46:14-46:23

Sligthly extended distance shot plus Lisbeth arrives from from a further distance.

9.4 sec




87:36 / 46:30

Lisbeth slightly longer.

0.4 sec



87:42 / 46:36-46:40

Ditto and the following shot earlier.

3.5 sec



87:46 / 46:44-46:45

Extended shot of the tombstone.

1.2 sec



87:52 / 46:51-46:53

Lisbeth longer and her hands earlier.

2.4 sec





88:04 / 47:05-47:26

Lisbeth's arrival by train.

21 sec




88:21 / 47:43-47:45

Lisbeth looks back and shuts the door.

1.8 sec



88:34 / 47:58-48:01

The Theatrical Version lacks the middle part of the shot. The Extended Version contains a shot of Lisbeth walking through the door.

2.5 sec





88:54 / 48:21-48:27

Lisbeth sticks a pencil to the door and leaves.

6.2 sec




Alternate
88:59-89:00 / 48:32-48:36

Shot of Lisbeth asking for the contract of tenancy in the Extended Version, then an earlier beginning of the following shot. Here one can also see the pencill sticked to the door during the tracking shot.

The Theatrical Version contains an extended shot of the computer screen instead (no screens).

Extended Version 3.9 sec longer




Only Theatrical Version longer
89:02-89:03 / 48:38

Extended shot of the door in the Theatrical Version.

+ 1.1 sec




89:07 / 48:42-48:43

Lisbeth longer.

1.2 sec





Alternate
89:13-89:16 / 48:49-49:10

Closer shot of Niedermann's name on the list in the Extended Version. Then Lisbeth, who says she hit paydirt and needed a car. She grabs the key for a Golf and asks for the daily rent. The man replies: "345 kronor."

The Theatrical Version sticks longer with Niedermann's name on the list and Lisbeth talks offscreen (no screens).

Extended Version 18 sec longer




89:20 / 49:14-49:15

Extended shot of Lisbeth leaving the room.

0.7 sec



89:33 / 49:28-49:29

Two shortened shots in the Theatrical Version.

1.2 sec





Alternate
89:39-89:42 / 49:35-49:37

Extended shot in the Theatrical Version. Lisbeth gets up after she switched the license plates. Then a shot of the street sign.

In the Extended Version, the follow-up shot of the street starts earlier (no screens).

Theatrical Version 1.5 sec longer




Only Theatrical Version longer
89:47-89:48 / 49:42

Extended shot of the street plus Mikael's computer screen earlier in the Theatrical Version.

+ 0.8 sec





89:51 / 49:45-49:56

Mikael destinctly earlier, the camera comes closer.

11.1 sec




Alternate
90:18-90:19 / 50:23-50:29

The Extended Version contains a longer shot of Mikael in the hallway. In the Theatrical Version, the follow-up shot starts sligthly earlier.

Extended Version 5.1 sec longer




90:22 / 50:32-50:35

Two more shots.

3.5 sec



90:25 / 50:38-50:40

Miriam earlier.

1.7 sec



90:30 / 50:45-50:46

And longer.

0.7 sec



Alternate
90:37-90:39 / 50:53-50:55

Miriam longer in the Theatrical Version, Mikael earlier in the Extended Version.

no difference




Alternate
90:43-90:51 / 50:59-51:28

Mikael distinctly earlier in the Theatrical Version, then a shot of Miriam. Both determine neither of them knows any details about Lisbeth's current whereabouts.


The Extended Version shows Miriam immediately, but uses an alternate take. The subject of the conversation is Miriam's whereabouts as well.
Then Mikael also asks how long she had to stay in the hospital. Miriam replies she was going to take the train to Paris in two weeks because she didn't want to stay anymore.
Finally Mikael earlier, he puzzles over the function of the key.


Extended Version 21.3 sec longer




Only Theatrical Version longer
90:54-90:55 / 51:31

Miriam slightly earlier in the Theatrical Version.

+ 0.4 sec





Alternate
90:56-91:03 / 51:32-52:03

The mentioned shot is longer in the Extended Version and the scene continues: Mikael thanks and leaves.
After that the shot of him in front of the lockers starts earlier.


The Theatrical Version contains a high angle shot instead. The following shot of Mikael at the lockers starts later.


Extended Version 23.4 sec longer




91:12 / 52:12-52:13

Two more shots.

1.2 sec





Alternate
91:45-91:46 / 52:46-52:48

Additional shot of Lisbeth's mansion in the Extended Version.
In the Theatrical Version, the following shot of Mikael on the streets starts slightly earlier (no screens).

Extended Version 1.2 sec longer




92:05 / 53:07-53:11

Extended shot of Mikael walking through the door.

4 sec



92:33 / 53:39-53:40

Mikael longer in the hallway.

0.4 sec





Recut
92:36 / 53:43-53:47

Extended shot of the timer, then Mikael. He whispers a smooth "Hello?".

3.9 sec




92:42-92:44 / 53:53

Now his "Hello" in the Theatrical Version after the shot of Lisbeth in the car.

+ 1.9 sec





Alternate
92:46-92:47 / 53:55-53:56

Alternate shot of clueless Mikael in front of the timer.

no difference



92:51 / 54:00

Lisbeth slightly earlier.

0.5 sec



Only Theatrical Version longer
92:52 / 54:01

Instead longer in the Theatrical Version. Drives one nuts.

+ 0.4 sec



92:54 / 54:03

Cutter = SOB.

0.4 sec



93:01 / 54:10-54:11

Lisbeth longer.

0.8 sec



93:13 / 54:23

And earlier when she folds it in.

0.4 sec



93:29 / 54:39-54:43

Two extended shots.

3.8 sec



93:43 / 54:57-55:00

Two extended shots (Mikael in front of the fridge + in the bedroom).

3.1 sec



93:49 / 55:06-55:11

Extended shot of Mikael walking in the bedroom.

4.6 sec





Alternate
93:56-93:59 / 55:18-55:35

Mikael takes a sit at the window and looks out. The following shots starts sligthly earlier, too.

The previous shot is trivially longer in the Theatrical Version istead (no screens).

Extended Version 13.4 sec longer




94:08 / 55:44

The locker slightly earlier.

0.6 sec



Only Theatrical Version länger
94:11-94:12 / 55:47

Now a shot distinctly earlier.

+ 0.8 sec



94:16 / 55:51-55:53

...and longer at the end in the Extended Version.

1.6 sec



94:21 / 55:58-56:03

Two extended shots of Lisbeth at the end / beginning.

5.2 sec



Only Theatrical Version longer
94:24-94:25 / 56:06

The last one longer in the Theatrical Version. For crying out loud!

+ 0.8 sec





94:30 / 56:11-56:20

A further shot of the P.O. box and Lisbeth again, she waits longer.

9 sec




94:32 / 56:22-56:23

What a pain in the ass.

0.4 sec





Alternate
94:37-94:40 / 56:28-56:31

The Extended Version contains a shot from further distance.

no difference

Theatrical VersionExtended Version




94:48 / 56:39

Lisbeth sligthly longer.

0.4 sec



94:53 / 56:44-56:45

What a wonderful day today, don't you think?

0.8 sec



94:57 / 56:49-56:51

The car leaves earlier.

1.8 sec





95:36 / 57:30-57:47

Extended shot of the street and an earlier beginning at Millennium: Paolo comes in and welcomes Erika. He asks for Mikael and Erika says he was still playing private eye. Malin arrives.

17.8 sec




96:00 / 58:11-58:12

Paolo earlier.

0.7 sec





Alternate
96:11-96:12 / 58:23-58:25

Extended shot of Erika in the Theatrical Version. She looks confused when Paolo mentions Niedermann's desease (no screens).
The Extended Version contains a shot of Paolo, then Malin trivially earlier.

Extended Version 0.7 sec longer




Alternate
96:13-96:14 / 58:26-58:28

Malin longer in the Theatrical Version, Paolo distinctly earlier in the Extended Version.

Extended Version 1 sec longer





Alternate / Recut
96:20-96:23 / 58:34-59:49

Paolo (believe or not) 0.4 sec longer in the Theatrical Version, followed by reaction shots of Malin and Erika.


The Extended Version contains further yackety-yak about Niedermann's condition. Erika considers it an amazing desease if one is a boxer - Paolo disagrees.

Before the shot of Lisbeth, a shot of Mikael checking out Lisbeth's file. He also finds the Bjurman CD and talks to Malin on the phone.


Extended Version 72.4 sec longer




Alternate
96:35-97:36 / 60:01-60:13

The Extended Version shows Lisbeth drinking, eating and using the binoculars here.


A shortened shot from further distance in the Theatrical Version, then the shot of Mikael checking out Lisbeth's file etc.

Alternate
96:43-96:44 / 58:50-58:54

A picture of Lisbeth as a kid in the Extended Version. In the Theatrical Version, the following shot of Mikael starts sligthly earlier (no screens).

Extended Version 3.4 sec longer




97:02 / 59:12

A moment earlier at Millennium.

0.7 sec



97:10 / 59:20-59:21

Ditto.

0.6 sec



Alternate
97:14-97:16 / 59:25-59:27

Malin longer in the Theatrical Version, Mikael earlier in the Extended Version.

no difference





Alternate
97:30 / 59:41-59:43

Extended shot of Mikael hanging up in the Theatrical Version (no screens). The Extended Version shows Malin once again.

Extended Version 2 sec longer



Finally, the shot of Zala's estate starts sligthly earlier.

Theatrical Version 49.2 sec longer




97:41 / 60:18-60:19

Two shots slightly longer.

1.2 sec



97:50 / 60:28-60:30

Ditto.

2 sec



97:53 / 60:33-60:34

Lisbeth sligthly longer.

1.2 sec



97:57 / 60:38-60:39

Let's just shorten anything.

0.4 sec



98:05 / 60:47-60:49

And again.

1.8 sec



98:10 / 60:54-60:55

And also the last shot of Lisbeth.

1.1 sec





98:25 / 61:10-61:25

Extended tracking shot of Mikael looking disgusted to the laptop.

15.1 sec




98:34 / 61:34-61:49

The video is much longer as well: Bjurman opens his pants. Then Mikael trivially earlier.

15.2 sec




Alternativ
98:37 / 61:52-61:53

Alternate shot of Mikael getting up.

Extended Version 1.1 sec longer



99:01 / 62:17-62:18

Mikael trivially earlier.

0.8 sec





Alternate
99:08-99:17 / 62:25-62:48

The phone conversation is different. Shot of Mikael while Malin mentions KAB Report in the Extended Version. Only here he hesitates before she comes up with further info. Malin wants to know if everything was fine.

Extended Version 14.4 sec longer

Theatrical VersionExtended Version




Alternate
99:27-99:29 / 62:58-63:02

Longer shot in the Theatrical Version, Malin earlier in the Extended Version.

Extended Version 1.6 sec länger

99:34 / 63:07-63:08

Malin insignificantly longer.

0,8 sec



99:42 / 63:16-63:18

Two shots insignificantly longer (Mikael goes / Malin and Erika look into the magazine).

2,2 sec





99:57 / 63:33-64:32

Malin can be seen alone a bit longer, then the chat between Mikael and Erika starts a lot earlier: Mikael sums up the happenings about Zala and says that Zala had given the order to murder Dag and Mia. He adds that they should not tell the police about it, maybe Malin could track down Niedermann while Lisbeth is hunting Zala anyway. Erika is not content with that.

59,5 sec




100:09 / 64:44-64:45

Erika a bit earlier.

0,5 sec



100:13 / 64:49

The medium long shot a bit earlier.

0,6 sec



100:48 / 65:24-65:27

The exit of the parking lot can be seen longer after Mikael drove out of it.

2,7 sec



Alternative
100:50-100:56 / 65:29-65:36

At first the car in the Theatrical longer, then an unnecessary alternative side view of Mikael driving and at last the folowing shots in the Extended a bit earlier.

EV 1,2 sec longer



101:29 / 66:09-66:10

Lisbeth longer.

0,5 sec



101:42 / 66:23-66:24

Lisbeth is hiding behind a shrubbery longer.

1,2 sec



101:49 / 66:31-66:34

And longer under the window + close-up of her gun.

2,9 sec



102:09 / 66:54-66:56

The door earlier.

2,1 sec



102:11 / 66:58-66:59

Two shots insignificantly longer.

0,4 sec



Alternative
103:01 / 67:49

Random alternative when Niedermann overwhelms Lisbeth.

EV 0,2 sec longer





Alternative / Recut
103:19-103:34 / 68:07-69:07

Before Lisbeth is regaining her consciousness the two versions show different scene.


The Theatrical shows Mikael driving.

103:22 / 74:59-75:01

The first shot of the street longer.

1,5 sec




Alternative
103:26-103:30 / 75:05-75:21

In the Theatrical Version there is a short shot of Mikael stopping behind the cars.


The Extended shows the previos shot insignificantly longer, afterwards an earlier part of the Theatrical's scene (that ends when the Theatrical starts) and then the following shot of Mikael a lot earlier. All in all: Nothing of importance, but a lot longer.


EV 12,7 sec longer



Only Theatrical Version longer
103:32-103:34 / 75:24

This shot is a bit longer in the Theatrical Version.

+ 1,7 sec



The EV shows Bublanski in the office first: he receives a parcel and finds a file in it. Then we see Malin and Erika sitting at the table in front of the new Millennium issue. They grief for Dag and Mia and drink to them.


EV 45,2 sec longer



103:49 / 69:22-69:30

Niedermann is standing in the room for a lot longer.

7,4 sec




104:10 / 69:51

Lisbeth a bit longer.

0,2 sec





Alternative
104:14-104:15 / 69:55-69:59

The EV shows an additional shot of the motorway from above.
The Theatrical Version shows the following shot a bit earlier (no pictures).

EV 3,6 sec longer




Alternative
104:24-104:27 / 70:08-70:11

The Theatrical Version shows Mikael longer in the car, the EV Erika just as much earlier.

no difference in time





105:21 / 71:05-71:17

Earlier in Zala's manor and first shots of Zala and Lisbeth including some first words of the former.

11,5 sec




105:30 / 71:26-71:29

Lisbeth longer.

3,6 sec



105:42 / 71:41-71:48

Lisbeth longer and Zala significantly earlier.

6,4 sec



Alternative
105:46-105:47 / 71:52-71:55

Zala longer.
The Theatrical Version shows Lisbeth a few frames earlier.

EV 2,4 sec longer



105:51 / 71:59-72:01

Zala a bit earlier...

1,5 sec



106:02 / 72:12-72:18

...and longer. Lisbeth can be seen earlier as well.

5,6 sec



106:16 / 72:32-72:35

Again Zala longer – the insult can be seen onscreen.

2,7 sec





106:21 / 72:40-72:54

Lisbeth longer and Zala can be seen earlier saying something.

14,2 sec




106:36 / 73:09-73:10

Zala longer.

1,8 sec



106:38-106:39 / 73:12

Then Zala earlier in the Theatrical Version.

+ 1,8 sec





Alternative
106:53-107:02 / 73:26-73:45

In the Theatrical Version there is only one long close-up of Lisbeth before she angrily gets up.


The EV shows a shorter shot (probably the latter part of the shot of the Theatrical Version), then Zala again. The following shot of Lisbeth is longer as well.
Then he says something about Bjurman's alleged bad taste (alluding to Lisbeth's rape): maybe Niedermann should do her. Lisbeth then provocatively whether he could not do it himself.


EV 9,9 sec longer




107:03 / 73:46

When Lisbeth wants to take the gun the EV offers a few more frames.

0,2 sec



107:06 / 73:49

A shot is also longer when Zala stops her.

0,5 sec





107:11 / 73:54-74:05

Lisbeth longer, then Zala a lot earlier, he drops the gun.
During this he answers to her previous statement and says that it would be perverted if he wanted to fuck her.

10,5 sec




107:13 / 74:07-74:08

Two shots insignificantly longer.

1 sec





Alternative
107:26-107:28 / 74:21-74:37

The EV shows Zala and then Lisbeth. The former beats around the bush a bit longer before he says that Niedermann is his son/ Lisbeth's brother. He says that Niedermann had helped him with the things that he could not do anymore after Lisbeth's incendiary attack and that some kind of partnership had developed out of it.

In the Theatrical Version Lisbeth longer (no pictures).

EV 14,4 sec longer




Alternative
107:34 / 74:43

Random shortened/lengthened.

EV 0,3 sec longer





Alternative / Recut
107:47-107:56 / 74:56-75:44

Lisbeth can be seen insignificantly longer in the EV, then the scene with Mikael in the traffic jam follows (could be seen in the Theatrical Version about four and a half minutes earlier).
Then a lot earlier Zala. He thinks Lisbeth wanted to reach for the gun again, but she only takes out a cigarette.


The Theatrical Version shows some exclusive shots of Mikael driving instead.


EV 39,1 sec longer




Alternative
107:58-108:17 / 75:46-76:08

The EV changes the perspective: the chat is basically the same, but in the Theatrical Version there is a zoom towards Lisbeth and in the Theatrical Version Zala instead and vice versa.
Ater about 20 sec the two version show the same again.

EV 3,4 sec longer




108:31 / 76:22-76:42

Zala talks to Lisbeth longer. He says Bjurman had been stupid enough to tell them about the gun he had. It had been very easy to use Lisbeth as a scapegoat because her fingerprints were on the gun.

20,2 sec




108:34 / 76:45-76:46

Lisbeth a bit longer.

0,5 sec




Alternative
108:42-108:43 / 76:54-77:11

In the EV we can see Lisbeth again and Zala continues to speak. He says that the police could identify him if they wanted to, after all he was just an old cripple.

The Theatrical only shows Zala before that a bit longer (no pictures).

EV 16,2 sec longer




108:51 / 77:19-77:20

Zala a bit earlier.

0,9 sec




109:00 / 77:29-77:50

Lisbeth a bit longer, then it starts a lot earlier outside: Several shots.

21,1 sec




Alternative
109:08-109:09 / 77:58-77:59

Random alternative.

no difference in time



Alternative
109:13 / 78:03

And again, when Niedermann throws Lisbeth to the ground. The EV sticks with the first shot loner, the Theatrical Version starts earlier with the following shot.

no difference in time




Alternative
109:17-109:24 / 78:07-78:19

The Theatrical Version stays longer with the previous shot, then a close-up of Lisbeth.


In the EV there is a a perspective change and then there is a more distant shot. Zala a bit earlier.


EV 4,4 sec longer




Alternative
109:52-109:55 / 78:47-78:50

Alternative shot of Niedermann, in the EV he looks to his side.

no difference in time



Alternative
110:18-110:20 / 79:13-79:15

Again an alternative shot of Niedermann, the EV is closer to him.

no difference in time




Alternativ
110:25-110:27 / 79:20-79:22

Lisbeths attack is different. The EV shows different shots when she throws and when the dirt hits Niedermann.

EV 0,3 sec longer

Theatrical VersinExtended Version




110:28 / 79:23

Niedermann can be seen earlier when he shoots.

0,3 sec

Alternative
110:29 / 79:24

Before Lisbeth hits, the Theatrical version shows Niedermann for a brief moment, the following strike uses a different take.

no time difference





Alternative
110:43-110:45 / 79:38-79:40

The Theatrical version contains an additional wide shot.
The following shot of Zala starts earlier in the Extended version (no images).

Theatrical version 0.5 sec longer




Alternative
110:51-110:54 / 79:46-79:49

The first shot is longer in the EV, in the Theatrical version the following shot starts earlier.

no time difference





110:55 / 79:50-79:56

The shot longer and the following one slightly earlier. Zala advises Niedermann to walk straight.

5.6 sec




111:23 / 80:24-80:26

Niedermann longer clicking his fingers.

2.2 sec



111:27 / 80:30-80:31

Zala earlier.

0.9 sec



Only Theatrical version longer
111:40-111:43 / 80:44

More pressure on Lisbeth in the Theatrical version.

+ 3 sec



Only Theatrical version longer
112:01-112:07 / 81:02

Niedermann and Zala can longer be seen walking away in the Theatrical version.

+ 6.3 sec



Alternative
112:11-112:12 / 81:06-81:09

The Theatrical version shows the car longer, the Extended version shows Mikael noticeably earlier in the inside.

EV 2.8 sec longer




112:58 / 81:55-82:04

Lisbeth's hand a bit longer, then Zala earlier in the apartment.

8.6 sec




113:30 / 82:36

Zala can be seen longer walking to the door.

0.8 sec



113:37 / 82:44-82:45

...and can be seen longer standing at the door.

1.3 sec





Alternative
114:15-114:17 / 83:23-83:25

In the Theatrical version the light goes off in the same shot (no images), in the EV we travel back from Zala's hand to the switch and the following shot starts earlier.

EV 0.6 sec longer




Alternative
114:24-114:26 / 83:32-83:34

The Theatrical version stays longer in the shot over Zala's back (no images).
The EV contains an additional close shot of Lisbeth in which we travel down to the axe.

EV 0.2 sec longer




114:47 / 83:55-83:58

Niedermann slightly longer.

2.4 sec



Only Theatrical version longer
114:59-115:01 / 84:10

Now, Niedermann (outside) is running slightly longer in the Theatrical version.

+ 1.8 sec





Alternative
115:17-115:20 / 84:26-84:30

The EV contains a profile shot when Niedermann opens the door.
The Theatrical version stays longer in the previous shot from behind (no images).

EV 0.4 sec longer




Alternative
115:34 / 84:44

In the EV a short close up of Niedermann turning his head to the side.
In the Theatrical version the following shot starts a few frames earlier (no images).

EV 0.5 sec longer




Alternative
115:39-115:40 / 84:49-84:50

In the EV a slightly different, closer shot of Niedermann.

EV 0.2 sec longer






Alternative
115:43-115:44 / 84:53-84:54

In the EV we see a close shot of Lisbeth with the weapon, the Theatrical version contains another shot from the previous angle.

no time difference

Theatrical versionExtended Version




Alternative
115:45 / 84:55

The shot is shown in those angles, as well (no images).

no time difference




Alternative
115:56 / 85:06

In the EV we see a short closer shot of the pane behind Niedermann breaking.
The Theatrical version stays longer in the wider shot (no images).

no time difference




Alternative
115:59-116:01 / 85:09-85:11

In the EV a slightly different, closer shot of Niedermann.

EV 0.2 sec longer



Alternative
116:03-116:04 / 85:13-85:16

In the EV Niedermann ducks behind the car longer. The Theatrical version shows Lisbeth slightly earlier.

EV 1.2 sec longer




Alternative
116:08-116:11 / 85:20-85:22

In the EV an additional shot of Niedermann behind the car.
The Theatrical version shows the shot of the surroundings longer (no images).

Theatrical version 0.6 sec longer




Alternative
116:13-116:44 / 85:24-85:31

Before Mikael appears the two version are noticeably different.


In the Theatrical version Lisbeth noticeably longer with the weapon. We see her view out of the barn, again, and eventually her being exhausted and pausing.


The EV, however, keeps the focus on Niedermann, who keeps lurking around the cars and looking to the barn insecure.


Theatrical version 24.2 sec longer




Alternative
116:47-116:55 / 85:34-85:37

This also continues after the corresponding shot: the Theatrical version shows Mikael's car a bit longer and then the suffering Lisbeth, while the EV shows Niedermann's reaction.

Theatrical version 4.8 sec longer

Theatrical versionExtended Version




Alternative
117:00-117:02 / 85:42-85:43

In the EV Niedermann throws his pole away in the same shot, in the Theatrical version the frontal shot starts noticeably earlier.

Theatrical version 1.2 sec longer



117:03 / 85:44-85:47

Two shots slightly longer.

2.6 sec





Only Theatrical version longer
117:17-117:33 / 86:01

In the EV the beginning of the shot has been removed: it starts when Lisbeth closes the door and lacks her crawling out.

+ 15.9 sec




117:37 / 86:05-86:14

Therefor, the EV shows Lisbeth noticeably longer at the end.

9 sec




117:38 / 86:15-86:19

Mikael walking longer and the travelling shot earlier.

4.7 sec



117:43 / 86:24-86:26

More small details.

1.3 sec





Alternative
117:57-118:06 / 86:40-86:49

In the EV we see two additional close shots of Mikael bending down to Lisbeth. The following shot starts slightly earlier.
The Theatrical version stays much longer in the previous shot and travels around him.

no time difference

Theatrical versionExtended Version




Alternative
118:46-118:53 / 87:29-87:32

In the EV a different, static and shorter shot from above.

Theatrical version 4 sec longer




Credits / Alternative
120:11-124:14 / 88:50-89:20

The Theatrical version contains a detailed credit sequence, the EV as usual a short episode credit sequence.

Theatrical version 212.2 sec longer

Theatrical versionExtended Version

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