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original title: Flickan som lekte med elden


  • Theatrical Version
  • Extended Version (Part 1)
Release: Nov 25, 2010 - Author: Muck47 - Translator: Tony Montana - external link: IMDB
Compared are 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, need 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.


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)


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.

Click here for Part 2 of the comparison

Millennium 2: Part 1

Credits / Alternative material / Changed Cuts
00:00-01:25 / 00:00-04:07

The two versions start differently.

Theatrical version

For starters, there are quite extensive opening credits (ca. 50 secs.), followed by a nightmare of Lisbeth. She remembers being maltreated in the children's home and, going on from there, being raped by Bjurman.

Extended Version

The opening credits are shorter, starting with the Yellow Bird logo (only a still). This is followed by a much more extensive review of the previous part.
Afterwards, there is the exclusive opening in drawn pictures.

Immediately after that, you see Irina being raped by Sandström, who gets a new Job appointed – This appears in the theatrical version in shorter form later, in minute 11, and is therefore not pictured here.

Finally, there is another short additional scene of Sandström in the parking lot, being watched from above by the 'Blond Giant' Niedermann.

The two versions only run along in the same order of the scenes from Lisbeth's waking up on.

Extended version 162.6 secs. longer

Digital Alteration

The following shot of Lisbeth's waking up is different in color in the first secs.ond due to continuity reasons: In the theatrical version, it's green colored due to the preceding dream (flashback).

Theatrical VersionExtended Version

Alternative material
01:31-01:34 / 04:13-04:14

You can see Lisbeth from behind much earlier in the theatrical version, whereas the extended version shows her in a closer shot a bit longer.

theatrical version 2.7 secs. longer

Alternative material
01:48-01:51 / 04:28-04:34

In the theatrical version, the inside shot is longer, whereas the outside scenes starts earlier in the extended version.

extended version 3.2 secs. longer

Only theatrical version longer
01:56-02:02 / 04:39

The long shot is significantly longer in the theatrical version.

+ 5.6 secs.

Alternative material
02:17-02:55 / 04:54-04:55

In the theatrical version at this point there is already the scene where Lisbeth informs herself about Bjurman's current activities (tattoo removal). This comes up later in the extended version with one and another extension.

02:25 / 17:11-17:19

Bjurman's homepage can be seen a bit longer, followed by pensive Lisbeth.

8 secs.

Digital alteration
02:25-02:40 / 17:19-17:41

Only in the theatrical version you can see Lisbeth's reflection in the background, whereas you can only see her hacking program in the extended version.

Theatrical VersionExtended Version

Alternative material
02:28-02:29 / 17:22-17:24

The theatrical version continuously shows the program, whereas in the extended version this is interrupted by a shot of her fingers typing, which causes the loss of a couple of frames.

Extended version 0.8 secs. longer

Alternative material
02:33-02:34 / 17:27-17:34

The theatrical version continuously shows the program (not pictured), two shots of Lisbeth in the extended version.

Extended version 5.4 secs. longer

Alternative material
02:34-02:40 / 17:34-17:41

When the E-mail program is loading, the extended version runs a bit slower.

Extended version 1.5 secs. longer

Alternative material
02:41-02:42 / 17:42-17:44

There is a close shot of Lisbeth in the extended version, but another one in the extended version, plus the program is shown insignificantly earlier.

Extended version 1.1 secs. longer

Theatrical VersionExtended Version

02:44 / 17:46-17:48

Close-up of Lisbeth a bit earlier...

2 secs.

02:45 / 17:49-17:50

...and longer.

0.7 secs.

02:53 / 17:58-18:01

The screen is shown a bit longer and Lisbeth a bit earlier.

3.4 secs.

The extended version, however, shows the following shot a bit earlier (only a few insignificant frames).

Theatrical version 37.5 secs. longer

Alternative material
03:00-03:09 / 05:00-05:14

In the theatrical version the conversation between Lisbeth and her accountant sometimes continues in the background – you can see her inside the house packing her things.

The extended version stays with the conversation the whole time and runs a bit longer. The dialog is similar, it's about Lisbeth's new apartment in central Stockholm.

Extended version 5.1 secs. longer

Alternative material
03:13-03:16 / 05:18

Once again Lisbeth packing her stuff in the theatrical version.
The few additional frames in the extended version are not worth mentioning.

Theatrical version 2.8 secs. longer

03:20 / 05:22-05:27

Lisbeth is looking at the documents a bit longer. Meanwhile, her accountant mentions her new account number in the background.

4.7 secs.

Alternative material / Changed cut
03:31-08:54 / 05:38-06:40

At this point, the two versions differ much. In the theatrical version, many plot lines are shown in quick succession which appear later in the extended version, scattered over the whole movie and more extensive.
At the beginning at least one can mention an alternative chain of events when Lisbeth disappears from her hotel in the Caribbean.

Extended Version

At this point her young lover George comes into play who is entirely missing in the theatrical version. First, she walks with him on the beach, then she leaves him in the evening with her packed suitcase while he is still lying in bed (accordingly an alternative shot to the one in the theatrical version).
Before that, there are the two shots of her packing her things appearing, however shortened.

Theatrical version

She leaves the hotel with her suitcase she has packed before.

Then it begins. The following scenes are additionally contained in the theatrical version and the extensions when the mentioned scenes appear throughout in the extended version later are marked with spoiler tags.

- Shots of the landing airplane

03:41 / 09:57-09:58

The first shot is a bit longer in the extended version later on.

1 sec.

- Bjurman meets with Niedermann and gets a briefcase after driving him home. Lisbeth watches this in front of Bjurman's house, plants a wiretap, and enters at night. She reads her report and threatens Bjurman with his own weapon.

Only theatrical version longer
03:49-03:57 / 18:04

The shot starts significantly earlier in the theatrical version. Niedermann approaches Bjurman's table.

+ 8.8 secs.

Alternative material
03:59-04:22 / 18:06-18:19

The theatrical version sticks with the shot of Bjurman.
In the extended version, cuts to Niedermann are made and there is an alternative short shot of Bjurman.

Theatrical version 9.7 secs. longer

Theatrical VersionExtended Version

Alternative material
04:27-04:43 / 18:24-18:41

First, Niedermann with the sheet of paper in his hands is seen a bit longer, followed by an alternative shot of Bjurman taking and folding it.

Extended version 1.1 secs. longer

Theatrical VersionExtended Version

Alternative material
04:50-04:54 / 18:48-18:50

Randomly alternative: In the theatrical version, he pulls back his hand in the same shot whereas he does that in an additional shot in the extended version (the only thing pictured). The following shot of the counter starts earlier in the theatrical version.

Theatrical version 1.9 secs. longer

04:59 / 18:55-18:58

The shot is longer, the following of Bjurman's house starts insignificantly earlier.

3 secs.

Alternative material
05:21-05:23 / 19:20-19:21

Niedermann hands over the suitcase in the same shot in the theatrical version whereas the a bit longer shot starts earlier in the extended version.

Theatrical version 1.1 secs. longer

Only theatrical version longer
05:25-05:26 / 19:23

Niedermann walks to his car a bit longer.

+ 0.8 secs.

05:31 / 19:28-19:29

In exchange, Lisbeth is seen a bit longer in the extended version.

0.8 secs.

05:39 / 19:37-19:39

Bjurman's house a bit longer.

1.6 secs.

05:55 / 19:55-19:56

Lisbeth is workoing in front of the door a bit longer.

1.6 secs.

05:57 / 19:58-20:08

A somewhat longer shot of the fingers and additional shots of Lisbeth in front of the door.

9.9 secs.

Alternative material
06:00-06:04 / 20:11-20:13

An additional shot of Lisbeth in the theatrical version.
In the extended version, the preceding shot is a bit longer as she puts her hand to her ear (not pictured).

Theatrical version 2.2 secs. longer

06:22 / 20:31-20:36

Lisbeth with the book significantly earlier.

5.2 secs.

Alternative material
06:26-06:27 / 20:40-20:43

Lisbeth can be seen a bit longer in the theatrical version, in exchange the close-up of the book significantly earlier in the extended version.

Extended version 1.8 secs. longer

06:30 / 20:46-20:47

Once again two meaningfully prolonged shots in the extended version.

1.6 secs.

06:47 / 21:04-21:06

Same here.

1.8 secs.

06:54 / 21:13-21:14


0.8 secs.

07:20 / 21:40


0.5 secs.

Alternative material
07:26 / 21:46-21:47

Lisbeth a bit earlier in the extended version.

Extended version 0.4 secs. longer

07:33 / 21:54

Lisbeth insignificantly earlier.

0.6 secs.

Alternative material
07:51-07:56 / 22:12-22:17

The extended version cuts to Lisbeth once more whereas the theatrical version sticks with the shot of her pistol over Bjurman's body.
Further, Lisbeth lowers her pistol in the end in the following very short alternative shot.

No runtime difference

Theatrical versionExtended Version

08:08 / 22:29-22:31

Scared Bjurman a bit longer.

2.4 secs.

- Bjurman calls Zala, which is entirely missing in the extended version in this way. He wants to offer the investigation report in exchange for the DVD. Lisbeth is supposed to be back in Sweden and therefore easy to find.
After an outside shot of Bjurman's house, the conversation continues in the background during several shots: Lisbeth arrives at her new home via taxicab. This is followed by short scenes of her furnishing the apartment (at many points much longer shown in the extended version).

In the end, the shot of Mikael and Erika in the café starts insignificantly earlier.

Theatrical version 261.3 secs. longer

Alternative material
08:58-09:04 / 06:44-06:56

The conversation about Lisbeth takes a slightly different course. Mikael is evading the subject a bit before he tells Erika thath they have been talking the other day before she had disappeared the day after.

Extended version 6.4 secs. longer

Theatrical versionExtended Version

Only theatrical version longer
09:10-09:11 / 07:02

Mikael can be seen a bit earlier in the theatrical version.

+ 1 sec.

09:18 / 07:09

Mikael insignificantly longer in the extended version.

0.4 secs.

Alternative material
09:26 / 07:17-07:18

Mikael a bit longer in the extended version, the following shot in the Millennium office a bit earlier. Randomly...

Extended version 0.3 secs. longer

09:49 / 07:42

Two shots at the beginning and the end a bit longer.

0.4 secs.

09:56 / 07:49

Christer and Mikael a bit longer.

0.6 secs.

10:03 / 07:56-07:58

Erika & Malin a bit longer before Dag is shown earlier with the papers.

2.4 secs.

10:05 / 08:00-08:01

Once again a bit shorter.

0.6 secs.

10:08 / 08:04

More screwed up stuff.

0.4 secs.

Alternative material
10:09-10:10 / 08:05-08:07

Alternative detail-bits (extended version: shot longer, theatrical version: following shot of Dag earlier).

Extended version 0.4 secs. longer

Alternative material
10:13-10:18 / 08:10-08:25

In the theatrical version you can see Christer and Mikael at this point whereas Dag continues talking in the background.

In the extended version Malin shortly inquires once more before Dag appears a bit earlier and utters his phrases from the theatrical version on screen.

Extended version 10.4 secs. longer

Alternative material
10:25 / 08:32

Erika a bit longer in the theatrical version, Mikael a bit earlier in the extended version.

No runtime difference

Alternative material
10:28-10:32 / 08:35-08:39

Lasts several seconds, bears no further importance: You can see Mikael listening a bit longer in the theatrical version whereas Dag can be seen a bit earlier in the extended version.

No runtime difference

Alternative material
10:40-10:41 / 08:47-08:48

Same same.

No runtime difference

10:43 / 08:50-08:52

Dag a bit earlier.

1.8 secs.

Alternative material
10:46-10:50 / 08:55-09:00

The decision is made in another way.

In the extended version, you see Christer, followed by Dag who is looking around.
In the theatrical version Mikael is shown, followed by Malin significantly earlier.

Extended version 0.8 secs. longer

Theatrical versionExtended Version

10:51 / 09:01-09:02

Malin a little longer.

0.6 sec

11:05 / 09:16

Erika a bit longer.

0.5 sec

11:07 / 09:18-09:20

Erika a little earlier

1.8 sec

Alternate / Recut
11:18-11:19 / 09:31-09:35

Mikael insignificantly longer in the extended version, then an additional shot of Erika.

The theatrical version shows Christer a bit earlier (not illustrated).

EV 3 sec longer

Alternate / Recute / Recut
11:35-16:32 / 09:51-22:32

After the discussion at Millennium, the two versions differ completely, again.


- Sandström rapes Ingrid and is being condemned to the next job (the extended version features this in the beginning after the opening credits)

11:39 / 02:47-02:48

The first rape-shot is insignificantly longer.
0.4 sec

11:41 / 02:50

The next one, too.

0.4 sec

11:43 / 02:52


0.3 sec

11:47 / 02:56-02:57


0.3 sec

11:57 / 03:07-03:12

Two shots in the end/beginning longer. Sandtröm goes to Ingrid and unties her.

5.4 sec

11:59 / 03:14-03:23

Ingrid says something to Sandtröm in her mother's toung and, humiliated, turns her head to the side.

8.9 sec

12:15 / 03:39

The brothers a moment longer.

0.5 sec

12:27 / 03:51-03:52

The last shot is a moment longer.

0.7 sec

- Lisbeth visits Armanskij and then Holger Palmgren (much later in the extended version)

12:38 / 36:50-36:56

The EV shows the previous shot longer, after Lisbeth passed – that way, the view is clearly concentrated on the newspaper rack, there is a report about double homicide.
The door label "Milton Security" is also shown insignificantly earlier, before Lisbeth enters.

6.4 sec

Alternate / Recut
12:49-12:50 / 37:07-37:08

Armanskij longer in the EV, in the theatrical version the following shot earlier

Theatrical version 0.4 sec longer

13:15 / 37:33-37:36

Lisbeth asks Armanskij if he was mad at her.

3 sec

13:28 / 37:49-37:50

Lisbeth a bit earlier

0.8 sec

13:40 / 38:02

...and longer.

0.4 sec

13:43 / 38:05-38:11

Again, Lisbeth much earlier: she drinks a bit of coffee.

6.7 sec

13:47 / 38:15-38:16

Armanskij a bit earlier.

0.8 sec

Alternate / Recut
13:52-13:57 / 38:21-38:26

An alternative, shorter shot of Lisbeth in the EV. The following shot of Armanskij starts a little bit earlier in return.

Theatrical version 0.4 sec longer

Only theatrical version longer
13:58 / 38:27

Armanskij also insignificantly longer.

+ 0.4 sec

Alternate / Recut
14:07-14:10 / 38:36-38:38

In the theatrical version, Armanskij is shown as he talks to Lisbeth.
The EV shows the previous shot of her on the way to the door without interruption.

Theatrical version 0.5 sec longer

KinofassungExtended Version

Alternate / Recut
14:39-14:43 / 39:07-39:13

The theatrical version keeps showing the same shot, the EV shows Armanskij again up front.

EV 2 sec longer

KinofassungExtended Version

14:47 / 39:17-39:52

After the nursing home is shown insignificantly longer from the outside, the action in the inside starts much earlier: Lisbeth rushes inside and you see Palmgren having enormous problem eating by himself.

35.1 sec

14:56 / 40:01-40:03

Two shots in the end/beginning longer.

1.3 sec

Only theatrical version longer
15:01-15:03 / 40:08

Now two shots longer in the theatrical version.

+ 1.8 sec

Alternate / Recut
15:23-15:24 / 40:28-40:33

Lisbeth a moment longer in the EV, then Palmgren argues, that Armanskij was worried about her.
The theatrical version shows the following shot insiginificantly longer (not illustrated).

EV 4.4 sec longer

Only theatrical version longer
15:40 / 40:49

Two shots in the theatrical version longer.

+ 0.5 sec

16:00 / 41:09-41:10

Palmgren insignificantly longer.

1.1 sec

- Lisbeth inside the bar with Mirian (she says that Lisbeth was the only person who would stand in front of her door after one year of absence and ask if she wanted to fuck); the scene was completely cut from the EV.

Extended Version

- Last shot of the discussion insignificantly longer, then Lisbeth's airplane lands

- She arrives at her new flat by taxi

- New scene: This shot is already much longer: She goes over to the apartment, where brokers still stand. She hasn't yet purchased the apartment yet and first talks to them. The broker does not take her seriously though (treats her like a child and says you had to have a lot of money for a house like thise before wrenching the brochure from her). Someone kindly calls the broker on his cellphone in the name of Wasp Enterprises, whereas Lisbeth smilingly leaves.

- Discussion between Dag and Mikael at Millennium: Gunnar was not detected by Dag, Mikael proposes the telephone-poll-trick.

- New scene: Lisbeth obviously purchased the apartment, you see a lot of IKEA-shoppings in one of the rooms. Thereafter much more elaborately, how she builds the things (in the theatrical version spread across the film and the shots always thightened a lot). She also refinds the disc with the Bjurman-rape-video and ponders.

- New scene: Mikael and Erika visit Dag and Mia. The EV presents Mia's printed dissertation. Dag needlessly explains the meaning of the title "From Russia With Love" and Mia describes the badly organised gangs and many more details about her researchh. Dag comes with some champaigne.
At that, Mikael and Erika leave the house in the evening and discuss the legal parts of the planned release. They then tell the taxi driver to drive to Mikael's place resp. obviously they will spend the night together.

- Lisbeth does research on Bjurman's current activities (much more elaborate than later in the theatrical version)

- Bjurman meets the blonde giant and gets a briefcase from the blonde giant after he drove him home. Lisbeth observes that in front of Bjurman's house, places a wiretap and then goes into Bjurman's house at night. She reads her report and threatens Bjurman with his gun (see above).

EV 464.6 sec longer

17:10 / 23:10-23:11

Miriam follows Lisbeth insignificantly longer into the house.

1 sec
Alternate / Recut
17:16-17:19 / 23:17-23:20

A first close-up view of Lisbeth in the EV, the theatrical version keeps showing the previous shot.

EV 0.2 sec longer

17:21 / 23:22-23:23

Lisbeth insignificantly earlier.

0.4 sec

17:30 / 23:32

Two shots cut in the end / beginning.

0.6 sec

17:43 / 23:45-23:48

Miriam longer.

3.2 sec

17:45 / 23:50-23:51

The usual irrelevances

0.5 sec

Alternate / Recut
17:47 / 23:53


EV 0.3 sec longer

Only theatrical version longer
18:58-18:59 / 25:04

Interestingly, there was a shot of Lisbeth pleasing Miriam orally shortened in the EV during the lesbian loveplay.

+ 1.6 sec

Alternate / Recut
19:02-19:03 / 25:07-25:22

Miriam moans a moment longer in the theatrical version (not illustrated).

The EV shows that the previously shortened shot is not at all censorship for a TV-release: There are several further shots of Lisbeth pleasing Miriam orally, who moans wildly.

EV 13.8 sec longer

19:20 / 25:39-25:40

The crossfade-effect was started a moment later.

1.2 sec

Alternate / Recut
20:32-22:54 / 26:52-28:49

Again, a completely different process.


- Discussion between Dag and Mikael at Millennium: Gunnar was not tracked down by Dag, Mikael suggests the telephone-poll-trick.

20:37 / 11:46-11:48

Two shots longer in the end/beginning.

1.7 sec

Alternate / Recut
20:52-20:57 / 12:03-12:06

Dag longer in the EV, in the theatrical version the following shot much earlier.

Theatrical version 1.7 sec longer

Alternate / Recut
21:17-21:21 / 12:26-12:28

The medium long shot in the EV longer, in the theatrical version Dag much earlier.

Theatrical version 2.2 sec longer

Alternate / Recut
21:24-21:27 / 12:31-12:40

The theatrical version keeps showing Dag in one through and Mikael is heard earlier from offscreen (not illustrated).
In the EV an additional shot of Mikael.

EV 5.8 sec longer

21:31 / 12:44

Mikael earlier.

0.5 sec

21:34 / 12:47-12:48

...and longer.

0.9 sec

- Dag meets Mia in the restaurant, she presents him the printed dissertation.

- Mia and Dag leave with their bikes.
Both scenes are missing in the EV (former logically, because the two already have presented the printed work in the EV earlier during the longer scene to Mikael and Erika).

Finally, the Gianni's family party starts insignificantly earlier.

Extended Version

Two new scenes.

- Irina's corpse is being dragged out of the water by the police.

- Dag and Mia talk in the car about said corpse discovery. Mia is scared, because she had interrogated Irina shortly before. She also mentions that Irina hysterically was talking about a "Zala" who appears as "Anton" in her work. Dag at that mentions Sandström, at whom he also noticed this name. He jokes a little, which Mia doesn't like at all concerning the corpse discovery. Dag apologizes.

Theatrical version 24.5 sec longer

Alternate / Recut
23:02-23:13 / 28:57-29:06

The theatrical version shows a tracking shot to the other people at the table, Mikael in the end.

In the EV, the long shot is longer, then directly an alternative view of Mikael.

Theatrical version 2 sec longer

KinofassungExtended Version

Alternate / Recut
23:36-23:52 / 29:29-30:04

The phone call with Dag was designed differently.

In the theatrical version you see Dag in his room, then Mikael shortly walks around in Annika's room.

The EV keeps showing Annika's apartment in one go resp. shows her reactions and longer views of Mikael going around.

EV 18.8 sec longer

Alternate / Recut
23:54-24:21 / 30:06-30:32

The versions differ after the identical cut to Annika, who offers herself as a taxi for Mikael.

In the theatrical version the discussion goes on, whereas between edits to Dag, parts of the longer shots of Mikael that were used earlier in the EV, are shown.

In the EV on the other hand, Mikael talks to Annika.
He would like to claim her work as a lawyer resp. let her read the book before the official release. Annika argues she didn't know anything about freedom of press. Mikael actually is rather up to her knowledge regarding abuse of women.

Theatrical version 0.7 sec longer

24:36 / 30:47-30:48

Two shots shortened in the end / beginning.

0.6 sec

Alternate / Recut
24:37-24:40 / 30:49-30:52

In the theatrical version, you see Mikael running to the door from a more distant shot.
In the EV, the following shot, in which the camera is closer to him, starts accordingly earlier.

no time difference

KinofassungExtended Version

24:57 / 31:09

Mikael stands insignificantly longer in front of the door.

0.4 sec

Alternate / Recut
25:07-25:08 / 31:19-31:20

Mikael looks 1 sec. longer shockedly to Dag's body in the EV. In the theatrical version, the following view of the corpse (distant shot) starts accodingly earlier.

no time difference

25:33 / 31:45-31:53

Additional shot of Annika in the car. She looks around and you hear sirens.

7.9 sec

25:42 / 32:02-32:04

The policeman a bit longer.

1.5 sec

Alternate / Recut
26:35-26:38 / 32:57-33:07

In the theatrical version, the fade-out takes place during the view of Mikael and Annika (not illustrated).

The EV shows another shot of the streets in front of the crime scene, the fade-out takes place here.

EV 7.4 sec longer

27:17 / 33:46-33:50

Ekström much longer and Bublanski insignificantly earlier.
Regarding Mikael, the former hints at the Wennerström-affair.

4.3 sec

27:21 / 33:54-33:55

Ekström a little earlier.

1.1 sec

Alternate / Recut
27:27-27:30 / 34:01-34:04

The theatrical version keeps showing Ekström, the EV cuts to Bublanski.

no time difference

Alternate / Recut
27:33 / 34:07-34:08

Annoying irrelevances, Ekström earlier in the EV.

EV 0.4 sec longer

27:44 / 34:19-34:20

The shot starts earlier as Ekström leaves.

1.3 sec

Alternate / Recut
27:46-27:49 / 34:22-34:47

The EV shows Bublanski again from up close with the cup in the hand. Then a shot of the streets in front of the Millennium-editorial office and the action starts earlier in the inside. Erika wants to discuss whether Dag's material could be released now. Mikael notes, that they didn't know yet why the two have been killed. It could be something personal, but also have something to do with the controversial material.

The theatrical version only shows the previous show of Bublanski from far away a little longer (not illustrated).

EV 22.2 sec longer

Alternate / Recute / Recut
28:12-28:15 / 35:10-35:15

In the theatrical version you see Mikael's reaction as Malin proposes giving the list to the police. Then, Erika finishes her line offscreen.
The EV on the other hand first shows Erika, then the shot of Mikael in one go – the theatrical version continues at his answer resp. the shot was seperated there accordingly.

EV 2.4 sec longer

28:46 / 35:46-35:47

Christer a bit earlier.

0.4 sec

29:09 / 36:10-36:11

Short additional shot of digging Niedermann.

1.6 sec

29:22 / 36:24-36:25

Niedermann a bit earlier.

0.9 sec

Alternate / Recut
29:27-29:32 / 36:30-36:32

An additional shot in the theatrical version, showing Niederman getting in his car from far away.

The EV shows him in the cabin before a little longer (not illustrated), then the closer shot, during which he already drives, is shown immediately after that.

Theatrical version 3.8 sec longer

Alternate / Recut
29:36-29:38 / 36:36-41:24

First an extended shot of Bjurman's mailbox in the Extended Version, then a reinsert block of scenes, popped up earlier in the Theatrical Version: Lisbeth pays Armanski a visit and then Holger Palmgren. Check the above mentioned spot in the Theatrical Version for more deets.

Finaly an earlier beginning of the interior shot of Bublanski's division.

The Theatrical Version instead only contains an additional external shot of the police building. Only that one has screens.

Extended Version 286.6 sec longer

29:46-30:06 / 41:32-41:55

Alternate montage of the conversation, the versions are synchronized again after approx. 20 sec. The cutter of the Extended Version didn't care that he creates a redundant mistake in continuity: Jerker wears his glasses again, even though he had them in his hands a few seconds ago. That was really worth it...

Extended Version 2.6 sec longer

30:17-30:20 / 42:06-43:25

New scene in the Extended Version: Lisbeth talks to Palgrem's Indian nurse, who says he couldn't remember any foster daughter. Lisbeth explains he had taken care of her since she had been 13 and she was being considered as close relative. Lisbeth wants to know about her condition and he replies Palmgren might get a brain hemorrhage or live for another 20 years and longer. By broaching the subject again, Lisbeth becomes aware of the fact that a fulltime trainer, who is obviously more expensive, would be the most sensible. She adds she would pay for it of course.

Earlier beginning of the following tracking shot of the building in the Theatrical Version (no screens).

Extended Version 76.6 sec longer

30:26-30:47 / 43:31-44:43

Different footage of the meeting, only the last shot of Bublanski and Sonja are the same.

Theatrical Version

Faste is in the room. His knowledge about Salander's past and state of mind was audible during the previous shot, partially via voice over, and also during a reinsert shot of Lisbeth while she's unpacking her furniture. Ekström asks for her asddress.

Extended Version

Here a voice over about Bjurman's weapon by Bublanski. Sonja also explains some background information about Bjurman (56 years, not subject to presecution, job) to Ekström.
Only now Faste comes in and talks about the so-called mentally ill Lisbeth - almost like he does in the Theatrical Version, but the footage is different.

Extended Version 76.6 sec longer

30:50 / 44:46-44:47

The cop leaves slightly earlier.

1.5 sec

30:58 / 44:55-45:06

Extended shot of Faste on the phone. He says it would take 5-10 min until back up arrives.
Then an earlier beginning of the shot of Niklas - he distributes sth. to the back up.

10.3 sec

31:33 / 45:41-46:00

First an extended shot, then an earlier beginning of the searching in the apartment.

19 sec

31:48 / 46:15-46:50

Extended searching of the appartment. Faste finds a sex toy and Niklas some medication from Miriam Wu.

35.2 sec

31:51 / 46:53-46:54

Slightly extended shot of the street.

0.5 sec

32:22-32:23 / 47:25-47:27

Extended shot of Sonja's back in the Extended Version. On the other hand, the following shot starts slightly earlier in the Theatrical Version.

Extended Version 1.3 sec longer

32:36-32:39 / 47:40-48:54

Extended shot of Sonja in the room in the Extended Version, then an additional scene: Bublanski asks Armanskij about Lisbeth. Then he gets a different idea than he does from the files: Armanskij speaks in high terms of her work and says documents were one thing and people the other. He emphasizes she hadn't had many clients and she had worked with Mkael recently - which seems to confuse Bublanski. At the end he gets a call from the crime scene and takes it.

The follow-up shot starts distinctly earlier in the Theatrical Version (pictures of Bjurman's body are being taken).

Extended Version 71 sec longer

32:55-32:57 / 49:10-49:11

Extended shot of the investigator in the room. The following shot of Bublanski starts slightly earlier in the Extended Version.

Theatrical Version 1 sec longer

33:11-33:14 / 49:25-49:28

The Theatrical Version contains a tracking shot of Sonja, the Extended Version shows Bublansk earlier.

Theatrical Version 0.5 sec longer

33:22-33:23 / 49:36-49:49

Extended conversation in the Extended Version. Bublanski wonders why he doesn't get a precise profile of Lisbeth because Faste's investigations make her look like an uneducated psychopath but according to Armanskij she's a competent investigator. Then Sonja again.

The Theatrical Version contains an extended shot of Sonja instead, already shown before (no screens).

Extended Version 12.6 sec longer

Only Theatrical Version longer
33:26-33:27 / 49:52

Only in the Theatrical Version, the shof of Jerker is being interrupted by a cut to Bublasnki and Sonja.

+ 1.5 sec

33:46 / 50:11-51:11

Additional scene: Bublanski interrogates Mikael.
He emphasizes Lisbeth didn't have anything to do with Dag and Mia and, as a result of that, she didn't have a motive. Bublanski talks about his former cooperation with her, Mikael replies was the best investigator he had ever met. When Bublanski mentions her incapacitation, he reacts confused. Then Bublanski starts talking about psychiatric report which says she had been pretty violent and adds she was the primary suspect in a triple homicide. So much the more he was confused that Armanskij and Mikael drew the picture of her as a princess.

The following shot of Lisbeth in front of the pizza parlor starts slightly earlier / with a tracking shot down the pizza parlor sign.

60.1 sec

33:53-33:57 / 51:18-51:21

Different shot of the billboard with Lisbeth. Furthermore the camera comes closer in the Extended Version.

Theatrical Version 0.7 sec longer

Theatrical VersionExtended Version

34:01 / 51:25-51:28

Lisbeth looks aside insecurely in the Extended Version.

The following shot of Lisbeth at the apartment starts a couple of frames earlier in the Theatrical Version.

Extended Version 2.7 sec longer

34:06 / 51:33-51:34

Extended shot of Lisbeth looking at her laptop.

1 sec

34:15-34:16 / 51:43-51:44

Extended shot of Lisbeth in the Theatrical Version, the Extended Version shows her laptop earlier.

no difference

Only Theatrical Version longer
34:19-34:20 / 51:47

Slightly extended shot of Mikael on the laptop screen in the Theatrical Version.

+ 0.4 sec

Only Theatrical Version longer
34:41-34:42 / 52:08

Shot of the TV before Lisbeth disassembles her cell in the Theatrical Version.

+ 1.3 sec

Digital modification
34:47-34:52 / 52:13-52:18

Strange: different images on the TV in the background. It's just the reporter in the Theatrical Version, in the Extended Version instead a talkshow with Peter Teleborian.

Theatrical VersionExtended Version

34:52 / 52:18-53:09

Several comments from Teleborian in the Extended Version. He's sorry for the death of three people by someone who definetely belongs in a mental hospital. The moderator steps aside and announces the next report the Theatrical Version starts with immediately.

In the Theatrical Version, just Lisbeth and the TV in the background. The shots beings a couple of frames earlier (no screens).

Extended Version 50.8 sec longer

35:12-35:13 / 53:29

Extended shot of Lisbeth in the Theatrical Version. In the Extended Version, the shot of Erika starts 2 (!) frames earlier.

Theatrical Version 0.6 sec longer

35:23 / 53:39-53:40

Mikael slightly earlier.

0.4 sec

35:24 / 53:41

...and longer.

0.2 sec

35:32 / 53:49-53:51

Again Mikael longer and Erika earlier.

1.7 sec

35:45 / 54:04-54:05

Erika earlier.

1.5 sec

35:47-35:50 / 54:07-54:11

...and longer plus an alternate shot of Mikael.

Extended Version 0.8 sec longer

35:52-35:53 / 54:13-54:14

Erika earlier / Mikael longer. Trivial as usual.

Extended Version 0.1 sec longer

35:54 / 54:15-54:24

Again Mikael and Erika with more dialog. While Mikael denies when Lisbeth asks again in the Theatrical Version, he says sth. in between in the Extended Version (that the question if Lisbeth was capable of murdering someone can basically answered positively). his "no" refers to Erika's follow-up question if he's refering to the fact she saved his life (which means she implies Lisbeth might have killed Martin Vanger at the end of The Girl With The Dragon Tattoo).

9.3 sec

36:03-36:04 / 54:33-54:35

Erika longer / Mikael earlier. Trivial again.

Extended Version 0.7 sec longer

Alternate / Recut / Digital modification
36:26-36:48 / 54:57-56:56

Extended shot of Mikael on the phone in the Theatrical Version, then smoking Lisbeth in her appartment. When she logs in at Mikael's computer, there's a reflection of her on the screen.
After that a shot of her hands on the laptop and the image of a video cam pops up.

The Extended Version begins with a nightmare about the abuses at the children's home. When she wakes up, she logs in but the reflection on the screen is missing. Then the program Asphixia starts on Mikael's screen while he's sleeping.
Finally a closer shot of the laptop screen (it's been zoomed in comparison to the Theatrical Version) before the image pops up identically. From now on both versions are more or less synchronized again.

Extended Version 96.6 sec longer

36:51-36:54 / 56:59-57:04

Extended shot in the Theatrical Version, Lisbeth moves backwards. A close-up of the laptop and its data transfer in the Extended Version. The Theatrical Version also contains this scene but for some reason it starts right in the middle.

Extended Version 2.8 sec longer

Theatrical VersionExtended Version

37:01 / 57:11-57:13

Earlier beginning of the data transfer in the Extended Version plus the end of the shot before has been shortened.

Extended Version 1.5 sec longer

37:06 / 57:18-57:23

Earlier shot of Lisbeth walking around in the room.

4.6 sec

Alternate / Recut
37:16-37:42 / 57:33-57:45

Extended shot her sitting thoughtfully around in the Extended Version. Then the shot already shown in the Theatrical Version, she sits in front of the window (no screens).

In opposite to that, the Theatrical Version shows her investigating (newspaper article about Irina's death + investigation by Dag about hookers) at the laptop immediately. The shot of Christer and Mikael also starts distinctly earlier, due to an intensive discussion about Lisbeth's intrusion.

37:19-37:21 / 66:19-66:21

Alternate shot of Lisbeth in fromt of the laptop.

no difference

Theatrical VersionExtended Version

37:24-37:25 / 66:24-66:25

The Theatrical Version stays with the screen all the time, the shot in the Extended Version is interrupted by a shot of Lisbeth.

Theatrical Version 0.4 sec longer

Only Theatrical Version longer
37:27-37:28 / 66:27

Freeze frame during the abstract of the accounts in the Theatrical Version.

+ 0.6 sec

Digital modification
37:30-37:32 / 66:29-66:31

Shot of Lisbeth as a background reflection in the Theatrical Version. The same shot is unmodified in the Extended Version.

Theatrical VersionExtended Version

37:32-37:34 / 66:31-66:34

The Theatrical Version stays with the screen all the time (digital modification included), the shot in the Extended Version is interrupted by a shot of Lisbeth.

Extended Version 1.4 sec longer

The investigation continues immediately in the Extended Version. In the Theatrical Version, these scenes appear approx. 5 min later (more details later).

Theatrical Version 13.9 sec longer

Alternate / ?Recut?
37:59-40:00 / 58:02-62:08

Looks like the cutter thought to renew the scene completely again. The versions are synchronized again when Mikael passages to Gunnar's apartment.

Theatrical Version

- Miriam talks to her mother on the phone and is being visited by gossip reporter Tony Scalia

37:58 / 65:29-65:30

The first shot of Miriam starts slightly earlier.

1 sec

38:34-38:38 / 66:06-66:16

The scenes ends differently.

In the Theatrical Version, Miriam shuts the door in the same shot and Tony Scalia remains clueless.

In the Extended Version, she shuts the door in a shorter and closer shot. Then she's back on the phone and continues the conversation with her mother and informs her about the chased away gossip reporter.

Extended Version 6.2 sec longer

- Mikael talks to Bublanski in a cafe, assures Lisbeth's innocence and challenges him (true murderer, crushing newspaper article).

38:38-39:15 / 68:41-70:05

The first half of the conversation contains alternate footage plus it's twice as long as it is in the Theatrical Version.

Theatrical Version

External shot of the cafe. In the cafe, they're still talking about Lisbeth's innocence. Mikael mentions Lisbeth's abomination against woman-abusing men and the insufficient state of evidence of Bjurman's weapon.

Extended Version

Here it immediately starts with Mikael on the phone. He calls Miriam, she insults him (obviously because of her bad experience with other journalists before) and hangs up. Bublanski arrives and Mikael tells him they had a leak because someone supplies internals to the press. He presents the front page of a newspaper with an article about lesbian satanists.

Then the same conversation as in the Theatrical Version, but for some time from another angle (the Extended Version contains closer shots of them).

Extended Version 46.7 sec longer

39:38 / 70:28-70:29

Bublanski slightly earlier.

1 sec

39:49 / 70:40-70:42

Bublanski walks for an extended period.

2.3 sec

39:54 / 70:47-70:49

Extended shot of Mikael at the end.

2.6 sec

- The shot of the ship travel starts earlier.

Extended Version

- The two can be seen longer on the street.

- Bublanski and the team talk about the further action concerning Miriam Wu.

Faste describes her very exaggerated as pervert lesbian in the porn milieu whose studies are only cover. His criticism of the shop "Domino Fashion" makes Sonja Modig smirking and saying that there was nothing wrong with that. Faste is not amused by that and Bublanski pins a photo of Miriam to the wall. Then, Curt mentions the Extended Versionil Fingers and Faste describes them as an occult group causing Sonja to smirk again. In the staircase she states that this was nothing but a harmless girl band from the 90ies, but Faste is convinced that those are lesbian satanists.

Sonja and Curt are sitting in the office facing each other. Curt speaks on the phone to his girlfriend when Miriam is being led in by Faste in the background.

- Miriam is being interrogated, Faste acts like a prole.

At first, Sonja is leading the conversation and the clueless Miriam only wants to know why she found her flat broken into and was dragged to the police station. After Faste commented her sexual preferences, she underlines again that she was at her parents' in Paris and did not hear any news. When Faste shows her a picture of Lisbeth and asks questions she is very surprised and can only say that she did not know where Lisbeth is. Faste unnecessarily mentions the sex toy they found and the implicated relationship between the two. Sonja is noticeable uncomfortable with that. She interrupts and slaps him in front of the door. In the same moment she realizes her mistake and he grins, knowing that he now has something he can use against her.

Extended Version 125 sec longer

40:03 / 62:11-62:16

The ship can be seen longer and Mikael insignificantly earlier.

5,4 sec

40:08-40:15 / 62:21-62:28

The Theatrical Version shows Mikael getting back into the car.
In the Extended Version the previous shot of Mikael on the boat is longer (no pictures).

Extended Version 0,2 sec longer

40:24 / 62:37-63:06

In the Extended Version we can seen Mikael going to the house. Gunnar greets him onscreen and the scene in his house starts a bit earlier.

28,7 sec

40:42 / 63:24-63:25

Mikael slightly earlier.

0,5 sec

40:45 / 63:28

...and longer.

0,4 sec

40:57 / 63:40-63:42

Gunnar longer + Mikael earlier.

1,9 sec

41:02-41:03 / 63:47-63:48

The handing over of the photographs is shorter/longer.

Extended Version 0,4 sec longer

41:04 / 63:49-63:50


Extended Version 0,6 sec longer

41:12 / 63:58

The picture of the asian prostitute is being handed over a bit longer.

0,6 sec

41:14 / 64:00-64:01

...and is lying on the table longer.

1 sec

41:23 / 64:10-64:12

Mikael and the picture of "Silvia" longer.

1,6 sec

41:30 / 64:19

Two shots have been shortened.

0,4 sec

41:31-41:32 / 64:20-64:21

Random Alternative (Extended Version: Gunnar longer, Theatrical Version: Mikael earlier).

Theatrical Version 0,5 sec longer

Only Theatrical Version longer
41:34-41:35 / 64:23

Gunnar in the Theatrical Version a bit earlier.

+ 0,6 sec

41:48 / 64:36-64:37

Mikael longer.

0,5 sec

42:09-42:10 / 64:58-65:00

In the Theatrical Version Mikael longer, in the Extended Version Gunnar a lot earlier.

Extended Version 0,7 sec longer

42:11 / 65:01-65:02

The other way round.

Extended Version 1,1 sec longer

Alternative / Recut
42:38-43:10 / 65:29-73:22

At this point there is again a rather long passage different in the Extended Version. A major part of it can be seen at other places in the original version, a few things are exclusive. When she appears at Sandström's place, the two versions are in synchronicity again when she appears at Sandström's.

Theatrical Version

- Exclusive shot of the smoking Lisbeth in front of her laptop.

- She scrolls up (this means that her investigation that is being done in one piece in the Extended Version is continued here)

42:43-42:46 / 66:37-66:41

At first the shot of the screen in the EV insignificantly longer, then (due to continuity reasons) an alternative shot of Lisbeth in front of the laptop.

Extended Version 1,4 sec longer

KinofassungExtended Version

42:51-42:54 / 66:46-66:49

Different shot as well.

No difference in time

42:56-43:00 / 66:51-66:58

Ditto + an additional shot of her hands on the keyboard and some irrelevant frames more in the shots before and after.

Extended Version 3,2 sec longer

43:03-43:05 / 67:01-67:03

The Theatrical Version sticks to the screen, the Theatrical Version shows her fingers on the keyboard.

no difference in time

Extended Version

At first we can see the two insignificantly longer at the table, then a few scenes are inserted which could be seen earlier in the Theatrical Version.
- Miriam call her mother is being visited by the yellow press journalist Tony Scalia
- Lisbeth investigastes (Newspaper reports about Irina's death+Dags investigation about prostitutes)
However, in the latter we can see her in completely different shots in front of the computer.

Then a new scene of Lisbeth in front of the PC. Plague is suddenly online and talks to Lisbeth while she puts on her wig. She asks him to get the old psychiatric report. Plague says that she could reach him via Hotmail and they joke about his sociopathic behavior.

Then again scenes we already know from the Theatrical Version:
- Lisbeth goes shopping with her wig and sees Miriam on the cover of a newspaper (this scene appaers a lot later in the Theatrical Version)
- Bublanski and Mikael in a café
- Mikael and Erika in the Bett, he then talks to Paolo. Before that we can see two exclusive exterior shots, only those are shown with pictures.

Then Sandström insignificantly earlier.

Extended Version 441,5 sec longer

43:22 / 73:34-73:35

Two shots have been shortened before Lisbeth attack Sandström.

1,1 sec

Alternative / Recut
43:24-43:30 / 73:37-73:54

In the Theatrical Version there is a fade out into black when Sandström is being hit by the taser and we can hear him hitting the ground from the off. Then there is a fade in to his distorted view of the kneeling Lisbeth.(no pictures)

The Extended Version shows the fall onscreen. Inside it starts with a rather long shot of him lying on the ground.
Extended Version 11,4 sec longer

43:32-43:35 / 73:56

A short part of the shot of Sandström on the ground is being shown in the Theatrical Version shortly afterwards.

+ 3,2 sec

Only Theatrical Version longer
43:41 / 74:02

Sandström insignificantly longer in the Theatrical Version.

+ 0,4 sec

43:51 / 74:12-74:18

Lisbeth says “Stand up!“ to Sandström earlier, when she pulls him up.
Then Sandström insignificantly earlier.

5,9 sec

43:52-43:54 / 74:19-74:22

The mentioned following shot is longer in the Theatrical Version, whereas the Extended Version shows Lisbeth earlier.

Extended Version 0,8 sec longer

44:01 / 74:29-74:31

Lisbeth longer, Sandström earlier.

2,6 sec

44:03-44:05 / 74:33-74:36

In the Theatrical Version Sandström longer, the Extended Version shows Lisbeth earlier.

Extended Version 1,2 sec longer

44:15 / 74:46-74:47

Sandström earlier, before Lisbeth approaches him.

0,6 sec

44:37 / 75:09-75:10

Lisbeth earlier.

0,6 sec

44:49 / 75:22-75:40

Lisbeth goes through the room longer and calls Sandström a sadistic pig. The last part of a shot of the Theatrical Version was used for the last of the three shots here but is shown later there.

18,5 sec

44:54-45:37 / 75:45-75:50

In the Theatrical Version Lisbeth talks to Irina. Then she takes a step forward and calls Sandström a sadistic pig. She eventuell steps back and sits down again.

In the Extended Version we can see Sandström longer before this.

Theatrical Version 38,1 sec longer

45:43 / 75:56-75:57

Sandström earlier.

1,2 sec

47:31-47:32 / 77:45-77:55

After incredible 2 min without any differences, the end of the scene is different/longer in the Extended Version: shot of Lisbeth for the first time, then Sandström's daughter approaching the door.

In the Theatrical Version, the following shot of Lisbeth starts 1.5 sec earlier (no screens).

Extended Version 9 sec longer

47:40 / 78:03-78:04

The daughter earlier in the house.

0.9 sec

47:46 / 78:10-78:14

Extended shot of the stunned daughter + Sandström slightly earlier.

4 sec

47:52-50:25 / 78:20

Now some scenes in the Theatrical Version already shown in the Extended Version, even though they have been recut for the Extended Version. Boxer Paolo is hired by Mikael and his first official act is becoming aware of Miriam's kidnapping. Due to the fact that this scene appears earlier in the Extended Version, this plot doesn't seem so rushed - similar to the novel where Paolo tries to reach Miriam several times.

- Lisbeth in bed; appears in the Extended Version at the end of Part 1 (check out the last difference in that comparison), shortened and in reverse order

- Mikael in bed with Erika, then Mikael talking to Pablo

48:37-48:38 / 71:20-71:22

Extended shot of Mikael in bed in the Extended Version, the follow-up shot of Erika begins slightly earlier in the Theatrical Version.

Extended Version 1 sec longer

48:56 / 71:40-71:42

Two longer shots at the end/beginning.

1.8 sec

49:02 / 71:48-71:51


2,9 sec

49:04-49:05 / 71:53-71:54

Playing games.

no difference

49:30-49:31 / 72:19-72:20

Extended shot of Mikael standing at the entrance in the Extended Version plus his question for Paolo starts earlier and offscreen (no screens). The Extended Version contains an additional shot of him / he states his questions totally onscreen.

Extended Version 0.4 sec länger

49:39 / 72:28


0.4 sec

50:00 / 72:49-72:50

Paolo slightly earlier.

0.4 sec

50:08 / 72:58-72:59

Two longer shots at the end/beginning.

0.8 sec

50:20-50:25 / 73:11-73:17

Alternate montage of the end of that scene. The Extended Version contains a shot of nodding Paolo, the Theatrical Version a shot of Mikael.

Extended Version 0.8 sec longer

Theatrical VersionExtended Version

Finally a slightly extended shot of Paolo in front og Miriam's door.

+ 153.4 sec

And the next difference, as useful as boobies on a nun: almost every shot of Miriam's kidnapping and Paolo's chase is varies somehow. Simply annoying and without any effects woth being mentioned. Improves pace, useful improvements....? No way!

50:39 / 78:34-78:40

Two extended shots of walking Paolo.

6.3 sec

50:48 / 78:49-78:51

The driving car earlier.

2 sec

Speed modification
50:48-50:52 / 78:51-78:57

The remaining part of the shot has a lower pace in the Extended Version for some reason.

Extended Version 2 sec longer

51:15-51:17 / 79:20-79:30

The kidnapper's leaving car in the Theatrical Version.

In the Extended Version, Paolo runs back in the same shot and the following one starts also earlier. He gets into the car and starts the engine.

Extended Version 7.8 sec longer

51:25 / 79:38-79:39

Earlier headlight.

1 sec

51:26 / 79:40-79:41

The middle section of the following shot / a passing car has been removed for the Theatrical Version.

0.8 sec

51:27 / 79:42-79:43

Missing second at the end - efficient tightening.

1 sec

51:30 / 79:46

Stupidly shortened / extended shots.

no difference

51:32 / 79:48-79:51

Addtional shot of the cars in the Extended Version (later in the Theatrical Version).

3.2 sec

51:33 / 79:52

Stupidly shortened / extended shots.

Theatrical Version 0.2 sec longer

51:35 / 79:54-79:55

Extended shot of the view from Paolo's car.

1.2 sec

Only Theatrical Version longer
51:36-51:37 / 79:56

Two shortened shots in the Extended Version instead.

+ 0.9 sec

51:38-51:39 / 79:57-79:59

Un-freaking-believable. The shot is longer in the Theatrical Version, the Extended Version contains an additional shot of the driving car.

Extended Version 1.3 sec longer

51:40-51:41 / 80:00

Extended shot of Paolo's car in the Theatrical Version. In the Extended Version, the shot of him begins a couple of frames earlier.

Theatrical Version 0.8 sec longer

51:42 / 80:01-80:02

Wow! The remaining part of the shot (removed beforehand) pops up after the recut to Paolo in the Extended Version.

1 sec

Only Theatrical Version longer
51:44 / 80:04

At least two identical shots in between. Then an extended shot of Paolo.

+ 0.6 sec

Only Theatrical Version longer
51:50-51:54 / 80:10

Now the shot of the driving car already shown in the Extended Version (approx. 20 sec ago). Furthermore the previous and the following shot are slightly shorter in the Extended Version.

+ 4.2 sec

51:57 / 80:13


0.5 sec

52:01-52:02 / 80:17-80:18

Alternate footage out of Paolo's cockpit at the end of the shot in the Extended Version.

Extended Version 0.4 sec longer

52:07 / 80:23-80:44

The Extended Version is being interrupted by a shot of the Millennium office. Erika presents a sequestration order for Dag's records and Mikael becomes aware of the fact that Bublanski wants to demonstrate his power due to his further challenge.

Paolo's chase starts earlier as well. Well, actually the shot appears earlier, that's why this difference is marked as recut.

21.2 sec

Alternate / Recut
52:09-52:38 / 80:46-81:03

Now the shot of the street sign in the Theatrical Version already shown in the Extended Version. Then alternate order of events until Paolo arrives at the baddies' hideout.

Theatrical Version

Malin tells Mikael about the results of the investigation about Gunnar and Bjurman.

Only Theatrical Version longer
52:11-52:14 / 81:23

Mikael earler.

+ 2.8 sec

52:32 / 81:41

Shortened shot in the Theatrical Version.

0.3 sec

Extended Version

Shot of Paolo with his cell at the beginning, then alternate footage at Millennium when Mikael refering to the previous conversation says they had copies of the documents and they were going to release the story anyway.
When he wants to answer Paolo's call, his cell goes off because the battery is dead.

Theatrical Version 12.7 sec longer

Alternate / Recut
52:58-53:01 / 81:23-81:48

Now the results of the investigation about Gunnar and Bjurman in the Extended Version - after Paolo reached the baddies' hideout (see above).

It's only the previous shot which is sligthly longer in the Theatrical Version (no screens).

Extended Version 22.8 sec longer

53:23 / 82:10-82:14

Earlier beginning of the shot of Paolo walking around.

4.5 sec

53:28 / 82:19-82:21

Wacky shortened/extended shot.

Extended Version 1.5 sec longer

53:36 / 82:29-82:32

Additional closer shot of Paolo in the bushes.

2.8 sec

53:47 / 82:43-82:45

Extended shot of Niedermann carrying Miriam.

2.5 sec

54:07-54:15 / 83:05-83:12

Additional shot of Paolo's front in the Extended Version. In the Theatrical Version, the previous distance shot is way longer.

Theatrical Version 1 sec longer

Theatrical VersionExtended Version

54:17-54:22 / 83:14-83:19

The Extended Version contains an additional shot from another angle while the previous shot is longer in the Theatrical Version.

no difference

Theatrical VersionExtended Version

Only Theatrical Version longer
54:29-54:30 / 83:26

The Theatrical Version sticks longer with Paolo.

+ 0.7 sec

54:34 / 83:30

Wacky shortened (Niedermann longer in the Theatrical Version) /extended (Paolo earlier in the Extended Version) shots.

Extended Version 0.2 sec longer

54:37 / 83:33-83:36

Paolo longer + Niedermann earlier.

3 sec

54:39-54:44 / 83:38-83:48

Different montage of the beginning of the fight. Niedermann takes more hits in the Extended Version.

Extended Version 4.7 sec longer

54:46-54:47 / 83:49-83:52

After the three ultrashort shots have been shortened for a couple of frames (less than 5) in the Theatrical Version, now a significant difference.

In the Theatrical Version, Paolo gets hit in the same shot, then he goes down.
The Extended Version instead contains an additional close-up plus an alternate shot of tumbling Paolo. The following shot is also extended, followed by an additional shot of Niedermann.

Extended Version 1.8 sec longer

Theatrical VersionExtended Version

Alternate / Recut
54:54-54:57 / 83:59-84:01

Different montage in either of the versions (switched shot of Niedermann & Miriam / shortened), before gets hit in the belly.

Theatrical Version 1.2 sec longer

Only Theatrical Version longer
54:58 / 84:02

Extended shot of Miriam on the ground in the Theatrical Version before she gets kicked by Niedermann.

+ 0.6 sec

54:59-55:00 / 84:03-84:06

While Miriam goes down in the same shot in the Theatrical Verison, the Extended Version contains an alternate shot - inappropiate because she's still standing at the beginning. The following shot of Paolo coming closer starts distinctly earlier.

Extended Version 2.5 sec longer

Theatrical VersionExtended Version

55:03 / 84:09-84:13

Additional shots of the clash.

4.2 sec

55:04 / 84:14

Wacky shortened (Niedermann longer in the Theatrical Version) / extended (Paolo earlier in the Extended Version) shots.

Extended Version 0.2 sec longer

55:05 / 84:15-84:16

The Theatrical Version sticks with Niedermann, who's whirling around, all the time (no screens). The Extended Version is being interrupted by a shot of Paolo backing off.

Extended Version 0.3 sec longer

55:06-55:07 / 84:17-84:20

In the Theatrical Version, Paolo shoots ahead in that exact shot (no screens). The Extended Version shows an additional clash before the knee strike in the face, which is in either of the versions.

Extended Version 2 sec longer

55:15 / 84:28

Niedermann slightly longer.

0.4 sec

55:18-55:19 / 84:31-84:32

Close-up of avoiding Paolo in the Theatrical Version. The medium long shot starts earlier in the Extended Version.

no difference

55:29 / 84:42-84:43

Earlier beginning of the shot.

0.4 sec

Only Theatrical Version longer
55:39-55:40 / 84:53

The medium long shot of Paolo on the ground starts earlier in the Theatrical Version.

+ 0.6 sec

57:53-57:54 / 87:06-87:09

Additional shot of Paolo and Miriam in the fire in the Extended Version.
The following shot starts slightly earlier in Theatrical Version (no screens).

Extended Version 1.6 sec länger

57:57-58:18 / 87:12-87:22

Distance shot of the inside in the Extended Version, then Niedermann in front of the torching storehouse plus a closer shot of him getting in his car.

The Theatrical Version contains an alternate, distinctly longer shot of Niedermann - Paolo and Miriam on the run in the background.

When Niedermann activates the headlights, the versions are synchronized again. But it's not being mentioned in the Extended Version that they were able to escape.

Theatrical Version 10.6 sec longer

58:26-58:41 / 87:30-87:42

Shot of the fire in the Extended Version, then a dissolve to two further shots from a different perspective.

The Theatrical Version contains a shot of Miriam and Paolo hiding in the bushes, looking at the torching storehouse.

Theatrical Version 3.2 sec longer

Alternate / Recut
58:44-58:47 / 87:45-89:23

Change of scenary from the burning storehouse (without explaination of Miriam's and Paolo's escape) to Lisbeth being thoughtful on the bed, which already appeared in the Theatrical Version, but it's much shorter here. Then a shot of her in front of the laptop, she writes a mail to Mikael - that hasn't shown up in the Theatrical Version so far. Please find more details at the beginning of Part 2. Finally the credits of the Extended Version Part 1.

In the Theatrical Version just an extended shot of the fire (no screens).

Extended Version 95 sec longer

Click here for Part 2