Comparison between the Theatrical Version (German DVD) and the Extended Version (Dutch DVD)
German DVD: 139:38 min without credits (146:30 min including credits) [PAL]
Dutch DVD: 177:19 min without credits (178:24 min including credits) [PAL]
* Part 1: 88:40 min without credits (89:12 min including credits)
* Part 2: 88:39 min without credits (89:12 min including credits)
- 89 altered scenes, including 37x alternative footage and 2 re-cuts
- Difference: 31:54 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 1: Differences Between the Movie and the Book
It should be no surprise that they had to shorten the book's plot to be able to make a movie about it - therefore not all of the details could be transformed onto the big screen. That is even less surprising when you're trying to make a 700+ pages book into a film.
Against the backdrop of the fact that the Extended Version is longer (and therefore could be able to include some more plot from the book), the movie's most distinctive deviations compared with the book will be shown in this introduction. We make no claims of being complete - there of course are more details that were altered for the movie version. But the following thing should be very surprising for everyone who read the book:
Mikael's Love Life
In the book, characterized as a womanizer. This is also shown in the fact that he's Erika Berger's (his co-worker/boss) lover for about 20 years. Her husband knows about this and puts up with it, while Mikael's marriage broke up several years ago because of his affair.
Cecilia Vanger (the missing child's aunt) falls for him as well. This affair of course has an influence on Mikael's investigations - over the course of the book, Cecilia becomes one of the main suspects - "surprisingly", she then can't be reached by Mikael for a long time.
In the movie version, there are a few sex scenes of Mikael and Lisbeth, but that is pretty much it about Mikael's love life. In the movie he's far more focused on his investigations.
The traitor at Millennium
Mikael Blomkvist only has to find the missing girl (Harriet) because he is lured by compromising evidences after loosing a lawsuit against financial mogul Wennerström von Henrik Vanger. Even though this is revealed in the movie version, too, there are only vague suggestions to why Mikael lost the lawsuit. The faked documents that made him loose in court were actually submitted by a traitor in Millennium's editorial department. In the book, that traitor (Janne) is characterized as a pretty weird loner. In the end you get to know, that he passed on all the important information to Wennerström - even during the investigations.
The huge revelation at the end of the story is possible, because they found out about his espionage at Millennium. From then on, he's only given faulty information.
In the movie, there's no mentioning of the traitor at all. Here, the twist at the end is a result of Lisbeth's researches - there are no stumbling blocks over the course of the release.
Henrik Vanger's character - the man who hired Mikael - in the book is described more detailed. At several points it is more than obvious that his actions are tactically clever.
Officially, Mikael only obtains the order to write a family chronicle about the Vangers. His researches about Harriet's disappearance on the little island should be kept secret. Of course, that only works out for a short while. When he finally comes up with the serial killer revelation, Henrik decides not to release the family chronicle that was written at the same time. Accompanied by this he's told to stay in Hedeby for 12 month (and not 6 like it's said in the movie).
Furthermore, Henrik closes a deal with Erika (who should become a shareholder/financial supporter of Millennium) behind Mikael's back. This would lead to a financial dependence which Mikael would not agree upon.
In the movie there's neither a mentioning of the deal with Erika/Millennium nor of the family chronical, making the research about Harriet Mikael's only reason to go to Hedeby.
In the book you get to know something about Lisbeth's first caretaker Palmgren and several incidents at her school. The movie version unfortunately got rid of all this.
Instead you get something different: There are several short flashbacks and indications of her most serious incident - at the age of 12, she set her fahter on fire in the car. Actually, Larsson saved this part of the plot up for the ending of the second novel (altogether with the father's identity) - in the first novel, this is not mentioned at all.
Mikael's love life (which was already mentioned) has an influence on Lisbeth's character. In the novel, she almost ends up with a change of mind. She also falls for Mikael's charme and actually considers to accept him as a friend (which would mean to let him get to know about her personal life). When she finally goes to his appartment with a little gift, she finds him and Erika arm in arm and therefore immediately scraps her emotions as a short moment of madness. This is also of importance for the second part: in the book, Lisbeth often feels deceived by Mikael which makes her consciously break off contact with him - even though she rather wants to stay in contact. The audience of the movie version - that does not know about her feelings - therefore has to assume that this impersonal behaviour is part of her personality (that was caused by her traumatic childhood).
Apart from that, there (of course) are further details that will occur to those who read the book. Here are some examples:
The chronologic order of events very often differs from the book. Also, there are some more potential victims and therefore also more interviews with witnesses and also more researches by Mikael and Lisbeth.
Harriet's niece Anita already died in the movie, while in the book she plays a major role for the solving of the whole case: only because of a bugged phone call by Anita (who still lives abroad) Mikael and Lisbeth are able to track Harriet down in Australia. In the movie they get to know about Harriet's whereabout through their investigations - Lisbeth's hacker-colleague Plague tells them, that there's a second "Anita" (= Harriet) Vanger who lives in Australia.
Martin's death and his record of being a serial killer is investigated by the police - we don't get any further explanations. In the book, however, Lisbeth destroys a huge amount of the evidence while Mikael is out cold. Also, Lisbeth avoids any contact with the police. This leads Mikael into a crisis of conscience - he has some doubts about his work as a journalist, since he in the end has to conceal the truth.
Lisbeth in the book visits her mother (who dies at the end of the book) several times in the mental asylum. However, in the movie she visits her mother for the first time shortly before the movie ends. In the second movie you're told that the mother passed away.
Millennium 1: The Additions of the Extended Version
Some said, that the Theatrical Version already seemed to be a bit lenghty at times. Of course, they're not the main audience for the Extended Version. It is rather meant to satisfy those who read the book and missed some of the (already mentioned) plot lines. The first few differences that were already listed above (those that have an underlined heading) actually do get a better treatment in the Extended Version.
There are several scenes that clarify that Mikael has sex with Erika. Even though his affair with Cecilia Vanger still didn't make it into the movie, you at least get the effet of his affair with erika on Lisbeth: just as in the book you can see Mikael and Erika fooling around towards the end of the movie - Lisbeth is very disappointed.
Traitor Janne is also introduced to the audience in several scenes. At the end he's revealed to be one of Wennerström's spies.
Henrik Vanger's partnership with Millennium also found it's place in the Extended Version's plot. Even though he doesn't seem to be as smart as in the book, it is still an interesting addition to the course of the story.
It should also be mentioned, that the Extended Version has different opening credits. Every film at the beginning shows a nice little film montage of several painted images that represent scenes from the movie that is about to follow (as well as one of the first movie).
Apart from that, many scenes are only slightly longer (some of them were probably already tightened for the Theatrical Version). You will also find out that the producers tricked you with some of the off-camera comments. Some of the information that are included in more quiet scenes actually originate from dialogues that were actually shot for the TV version.
There are some other small sections of the book that made it into the Extended Version. For example, Lisbeth gets the sling tattoo just before she takes revenge on her caretaker/rapist Nils Bjurman. Also, Morell talks a little bit more about how the investigations about Harriet haunt him. He also says that this is his first (and actually also last) case.
All in all, this is an Extended Version that can definitively recommended to fans of the trilogy.
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!).
Now we can only play the waiting game to see whether or not the Extended Version will one day be aired on TV or even released on DVD with an English soundtrack. So far, there are no announcements about this.
The runtime is ordered as follows:
Theatrical Version (German DVD) / Extended Version (Dutch DVDs - part 1+2 each have an individual index)
Don't get fooled by the great amount of "Alternative footage" - often, this refers to material that is actually up to 2 seconds shorter than the Theatrical Version (due to the different transition). Even though the Theatrical Version (properly speaking) shows a little more footage, this is hardly worth mentioning. To clarify this issue, there always will be some images that explain it.
Millennium 1: Part 1
At the beginning of the movie, the German DVD shows a black screen for a little longer.
+ 1.2 sec
00:11-00:43 / 00:10-00:27
The Extended Version (from now on reffered to as EV) shows the first few credits a little earlier. From time to time, they are distinctly bigger (due to the different film size). For now, the producers are only named in the Theatrical Version.
Theatrical Version 14.5 sec longer
Credits / Alternative Footage
02:04-02:11 / 01:48-03:26
In the Theatrical Version the title appears while the camera zooms to a picture of Harriet. Then you see Lisbeth walking along the street (the title can still be seen - for this, see below).
The Extended Version (additionally to the title) points out that this is the first part. Then follow extensive opening credits (including several, well-painted images that represent scenes from the movie`).
EV 90.3 sec longer
The first few "real" scenes then offer different credits, since the actors were already named in the opening credits with the drawn pictures.
04:23 / 05:38-06:29
After Mikael fought his way through the reoporters, you in the EV also see how he arrives at the Millennium press. Erika welcomes him and then they kiss - a first indication of their affair.
Together they enter the room. Immediately, Malin (the new employee) introduces herself. They make some jokes and Mikael welcomes her on the "sinking ship".
The Theatrical Version continues roughly in the middle of this scene.
04:35-04:37 / 06:41-06:43
In the Theatrical Version you can see Erika, while in the EV you see the traitor Janne Dahlman.
No difference in time.
04:40-04:41 / 06:46-06:48
In the Theatrical Version Mikael, Erika and Malin are shown a few seconds longer (not illustrated below).
The EV shows Malin distinctly earlier; she looks around.
EV 1.7 sec longer
04:50 / 06:57-07:40
At first, Erika is shown a little longer. Then, Janne suggests that they should appologize to Wenneström. Mikael denies this immediately and Erika adds that they would lose all their credibility.
After this, Christer says that there are some bad news. He talks about a friend who works at another newspaper - and places one copy of this newspaper on the table. On the front page you can see a picture of Mikael and Erika billing and cooing at the beach. The newspaper is planned to be released the next day all over Sweden. Erika notes that the witch-hunt has obviously started.
09:44-09:48 / 12:34-12:51
In the Theatrical Version follows a shot of Mikael and his sister Annika's daughter before he shows her how to cook meatballs.
The Extended Version at first shows Annika a little longer. She finishes her sentence on-screen. Then follows a discussion about the trial's outcome. Mikael says that he wanted to spare his family the misery. His sister is mad about the fact that he now has to go to jail. Annika's husband then breaks in on the conversation and says that one should not argue on christmas.
EV 12.7 sec longer
10:41 / 13:44-14:04
Before Frode during the phone call guarantees that the offer will be very interesting for Mikael (In the Theatrical Version you hear that during the following shot of the train) Mikael says that it's chrismas and that he's going to have a rough week.
When Frode then says his sentence, Mikael keeps quiet for a few seconds to think about it for a moment.
Then follows an additional scene with Lisbeth. She sits in front of her laptop and every now and then looks through the window to watch the family next door sitting at the table.
11:52-11:53 / 15:15-15:27
In the Theatrical Version, the Vanger-estate is shown for about 1 second longer (not illustrated below). Frode alread says that nowadays only Henrik and his housekeeper live there.
The EV offers a new shot of the two of them walking to the door where Frode welcomes Mikael.
The following shot of Henrik inside the property begins considerably earlier.
EV 11.5 sec longer
16:15-18:37 / 19:49-20:35
After Lisbeth received a call about her new guardian Nils Bjurman, both versions subsequently show different scenes. They are in sync again when Henrik and Mikael have a conversation about the possibilities of Harriet's disappearance.
In the Extended Version she swiftly goes to the hospital to visit Holger Palmgren (her former friendly caretaker).
She shortly swears and then goes away again. While she goes out, she throws something on the floor.
The Theatrical Version instead already shows Lisbeth's and Bjurman's first meeting. This follows a little later in the EV (see below) - therefore there are no pictures of that scene now. The only difference is that the first shot begins about a second earlier.
At the end of the scene, Lisbeth is shown longer than in the EV - but these are only a few frames. The following shot of Henrik and Mikael on the stairs begins about 1 second earlier.
Theatrical Version 96.2 sec longer
21:12 / 23:10-23:24
External shot of the building where Bjurman's office is at. The scene inside the building starts a little earlier (Bjurman invites them in).
21:12 (resp. 16:15-18:37) / 23:24-26:10
Now follows the rest of the conversation between Lisbeth and Bjurman that was already shown in the Theatrical Version. But there are some changes that will be explained in the following block.
17:55-17:56 / 25:03-25:30
In the Theatrical Version, Lisbeth is shown a little longer (again, no images below).
The EV cuts to Bjurman. The conversation goes on for a while and he delves for her sexual experiences more intensive.
At first he asks, how many people she had sex with. Since he as a caretaker has to carry all responsibility, he says that it is his duty to ask questions like that. When he repeats his question, Lisbeth answers that this is a private matter.
EV 26 sec longer
21:12 / 26:10-26:15
After this different order of the scenes, the EV offers a short extension. Then you see the street in front of the Millennium press before it cuts to the inside of the building.
24:21 / 29:24-29:40
After Lisbeth's Laptop was destroyed, you see her stumbling through the subway tunnel. Then, there are two new sequences before she sits in the room next to Plague (just as in the Theatrical Version): You see walking to the door and then talking to the person inisde the building via the intercom.
25:09-25:10 / 30:28-30:42
In the Theatrical Version, the scene is a little longer - Plague turns the monitor to the side.
However, only the EV shows two sequences of Mikael arriving in Hedeby with a taxi. The following shot of him getting out of the car begins slightly earlier than in the Theatrical Version.
EV 12.9 sec longer
25:46 / 31:18-31:31
In the Theatrical Version the two of them are shown a little longer from a distance (not illustrated below).
Then, you can see them inside in the EV. Henrik then hints at the fact that the conductions can freeze when it is very cold. Therefore, Mikael would have to ask him for water. In the Theatrical Version, this can be heard during the next few shots.
Then, he shows him the little oven that he approaches in the next shot (which is also included in the Theatrical Version).
EV 12.9 sec longer
25:49-25:51 / 31:34-31:43
Shortly afterwards, Henrik in the EV tells him about the telephone and internet connection - after all, he shouldn't be marooned.
The Theatrical Version instead shows a different take (resp. probably a different part of the scene) with Mikael and Henrik in the foreground.
EV 6.8 sec longer
30:02-30:04 / 35:54-36:02
In the Theatrical Version you see Martin slap Mikael on the shoulder in the same scene.
However, in the EV he does that in a different take and at the same time says that he's on his way to Stockholm but if they wanted to meet for dinner, that would be possible. Mikael thanks him for the invitation.
EV 6.4 sec longer
33:53 / 39:51-41:52
First an extended shot of Mikael and Cecilia climbing down. After that, they have a talk about the family members and what living on the island is like while they're walking. Cecilla says nothing ever happened in Hedeby, usually.
Then a shot of Janne talking to Wennerström, here he reaveals he was the traitor in the Millennium team. He talks to Wennerström about Mikael's whereabout and the hopeless spirit at Millennium. Morevoer he wants to quit asap and get a descent job at Wennerström's, who's still not persuaded and who wants Janne preliminary to be a spy. He agrees reluctantly.
38:13 / 46:12-46:27
Extended shot: Plague keeps on starring at the screen impatiently and Lisbeth looks up to him for a moment, she is irritated.
42:16-42:20 / 50:30-50:51
The shot of Hedestadt building is 1 sec longer in the Theatrical Version. Then Henrik in bed with the phone in his hand. The viewer is in the thick of it immediately.
The Extended Version shows the scene with Henrik in bed earlier. First he wakes up, picks up the phone, asks confused the time and wants to know if it really was important. Furthermore two shots of Mikael in between - the scene from the Theatrical Version has been split up in two shorter scenes here.
EV 17.2 sec longer
42:24 / 50:55-51:06
Extended shot of Henrik, then Mikael. The conversation continues. Mikael asks if the other pictures were still in the archives and Henrik can fortunately tell that he was just one of the owners. The conversation is over and Henrik looks on his watch.
In the Theatrical Version, the following shot of Mikael in the archives starts slightly earlier (no screens).
EV 10.9 sec longer
48:20-48:22 / 57:02-62:22
Considerable extension in the Extended Version after Cecilla said goodbye to Mikael. The relationship of Erika and Mikael deepens, it turns out Henrik made a deal with her behind Mikael's back.
He goes back to his shelter. On his way over there, Harald looks at him distrustfully. Then he calls Erika (answering machine) who surprisingly shows up a couple of seconds later. Mikael in shorts, he looks at pictures and other material on the wall and listens to some relaxing music when she's arriving. She makes of his scroungy look, then it passionately goes on in bed.
Walking in Hedeby, they have a word about the situation of Millennium. Mikael asks for Malin, the new secretary, and Erika praises her and compares her with herself 10 years ago. Then she reveals to him Henrik Vanger had asked for dinner.
During dinner, Mikael finally recognizes she'd been in contact with him behind his back and also that her visit in Hedeby hadn't been just for friendship. She reveals to Mikael she could get him as investor for Millennium - also due to Mikael's lack of interest to save the company. Mikael feels betrayed, he doesn't like a radical journal like Millennium being financed by a big industrialist like Vanger. Henrik barges in the following debate, he says he didn't want to influence the work of Millennium.
First the two on their way back to Mikael's shelter. He notices he'd been bitchy and she'd been right. He gives her a forgiving kiss, she asks if he wanted to come along but he rather stays on site.
The shot of Mikael starts a slight moment earlier in Theatrical Version, the shot of Lisbeth begins slightly earlier (no screens).
EV 318.3 sec longer
58:19 / 72:19-75:20
Again many new scenes, just one after another, right before Lisbeth confrontates Bjurman with the rap video. A briefing at Millennium, where it turns out again Janne worked both sides of the streets. Then Lisbeth gets a tattoo on her ankle.
First an extended shot of the fuzzy picture from the 60s (Martin near Harriet), then a toast to the new financier at Millennium, Henrik Vanger. Christer talks about the picture, that he tried to get it sharper but failed. He asks Erika what Mikael needed it for and what he was doing in Hedeby anyway. Erika replies he was playing PI, then they make fun of the new Sherlock Holmes.
Next scene: Janne asks Malin shily if she wanted to have a drink with him. She is flattered and explains she had some errands to run. Janne leaves and she sends an e-mail to Mikael - behind her Janne's computer flashes. She looks annoyed but also notices that he gets a copy of any incoming e-mail. At that moment, Janne returns, looks motionless and pretends to be clueless by explaining that there were possibly some errors on the server. He locks his computer and wants to leave, she looks perplexed at his computer.
Now Lisbeth at the tattoo studio. The motive has already been drawn and the woman mentions it was a painful spot. Lisbeth instead asks for the biggest needle.
Finally, the shot at Bjurman starts earlier. He opens the door, complains about the uninvited guest and says she hadn't gotten the rules (appeared as voice-over during the previous scene in the Theatrical Version). The following shot of Lisbeth also starts sligthly earlier.
67:26-67:27 / 84:27
For some reason, two shots have been shortened at the beginning and ending in the Extended Version (Mikael rushes to Frode + the first shot at the hospital).
+ 0.5 sec
71:38 / 88:38-89:12
Extended shot of Lisbeth (approx. 1.5 sec), then some credits when Episode 1 of the Extended Version ends.
Millennium 1: Part 2
71:38 / 00:00-03:06
Episode 2 of the Extended Version begins with some credits, then a flashback of the previous incidents and some more credits with drawnings in the background.
Only in the Extended Version, the first real scenes contain some credits.
71:44 / 03:12-03:16
The first extended high-angle shot is longer in the Extended Version.
71:47 / 03:19
Another shot (Lisbeth on a motorcycle) was net of a few irrelevant frames.
+ 0.3 sec
71:51 / 03:23-03:28
The shot begins distinctly earlier - you see Lisbeth on her motorcycle driving along a country road.
Additionally, the previous scene on the bridge ran slightly slower.
71:54-72:03 / 03:31-04:01
Lisbeth's arrival is ordered differently and lasts slightly longer than in the Theatrical Version.
The Theatrical Version shows the shot of the scenery for an extra 0.5 seconds after Lisbeth left the screen (not illustrated below). In the next sequence, she already stopped and gets off the bike. Then follows a distant shot of her.
In the EV you first see an additional sequence of her still driving, but she's already getting slower. the following sequence begins earlier than in the Theatrical Version: She stops the motorcycle and then gets off (which is shown in a distant shot). Therefore, this take begins a little earlier than in the Theatrical Version - but it also ends a little earlier, since you in the next shot see her taking off her helmet.
Then, Mikael comes out of the house and welcomes her while he's on the phone.
EV 20.8 sec longer
72:57 / 04:55-08:08
A couple of new scenes in the EV. The two of them question a witness.
At first, Mikael explains all the backgrounds (e.g. that all the persons on the pictures are suspects since they were on the islands the day that Harriet disappeared). Apparently, Harriet wanted to entrust herself to somebody (the gritty mood in her diary is an indication for that). Pastor Otto Falk is contemplated, since the Bible passages are more than unusual for Harriet who prior had been known to be non-religious - but suddenly she seemed to gain interest in religion.
Outside, Mikael slowly and nervously gets on the motorcycle; then they drive away.
At old Otto Falk's house they get to know that apparently Harriet has not really been religious, but rather fascinated by several stories and treated it like a fad. For him, the quotations from her diary seem rather random and he criticizes that she didn't really take anything seriously. Furthermore, he (to Mikael's amazement) says that she was rather defiant than introverted as she was described by others. This was why she left Sweden in the first place. This makes Mikael even more sceptical. After After a little intervention by Otto's daughter they find out that Otto confused Harriet with her older sister Anita Vanger (who back in the days moved to London). At least she mentions that they used to be best friends - a little help for the movie's solution. However, the conversation with the senile Otto for now seems to be a dead loss for Mikael and Lisbeth. At the end, Otto's daughter emphasizes that Harriet really hasn't been religious.
Ultimately, this is a way better transition to the next scene (which is also included in the Theatrical Version) where Lisbeth assumes that the abbreviations probably have nothing to do with god.
In the Theatrical Version the following sequence begins less than 0.5 sec earlier (not illustrated).
EV 193.2 sec longer
74:31 / 09:42-09:51
Mikael arrives with his car a little longer. The next shot of a bridge begins distinctly earlier.
75:35 / 10:55-11:00
This take is a little longer. He's shaking hands with them a little longer and introduces himself. The next shot of him begins a little earlier.
75:46 / 11:11-11:14
The first take inside the barn begins a little earlier.
76:25 / 11:53-12:26
This shot is a little longer, then follow more details about the crime and the investigations that were made at the time - they were affected by prejudices.
According to Gunnar, several cows were heavily injured and had to be killed. Mikael asks if they had drawn up a profile of the offender. Gunnar denies this but he says that they arrested a young guy who was said to be insane enough to do such horrible things. Naturally, Mikael wants to know more about this and then finds out, that the guy was queer. Mikael asks if Gunnar means that he was gay - he confirms it. However, the guy was not convicted for the murder - but for "the other things" (obviously it was illegal to be gay back then).
76:46 / 12:47-13:53
The EV cuts way later to the photo of Harriet. The two of them are shown a little longer sitting inside the car, thinking about what they've just heard.
EV 6.4 sec longer
77:42 / 13:49-15:58
After Mikael confronts Lisbeth with the Bible passage that was quoted word for word, the Theatrical Version then directly cuts to the police station with old photos of Magda's murder. In between those two scenes, the EV offers some new scenes that make the scene change a little more coherent.
At first there are a few more frames of Lisbeth; then, Mikael closes his Laptop and they leave.
Inside the car, Lisbeth identifies another murder victim on her laptop: Mari, who disappeared in Uppsala in 1964.
They stop at a gas station and Lisbeth carelessly throws some garbage on the backseat. Mikael takes it calmly and grins.
The next morning, Mikael stops the car in front of the police station and wakes Lisbeth up by knocking on the window.
The scene inside the police station begins earlier as well. Mikael explains that there are some new evidences about older homicide cases (which is the reason why they're here) to the policemen. They say that they're from a TV show that reviews old cases to get good ratings. He then refers the officer to his program manager "Sally"; the police officer eyes Lisbeth suspiciously for a while and then says that he goes to the archive real quick and that he will be right back.
While they wait, Lisbeth sighs at her pseudonym which amuses Mikael. The officer comes back with a few folders and calls for the two of them.
77:42-77:47 / 15:58-16:03
Curiously enough, the following scene (the picutres are placed on the table) was zoomed for the Theatrical Version.
No difference in time.
78:20 / 16:36-16:54
The scene inside the police station is longer in the EV.
The policeman asks if he can help them with anything else. Mikael asks if he could make some copies. After the guy hesitates for a moment, he then agrees.
In the Theatrical Version you only see Mikael for about 0.5 sec longer (not illustrated below).
EV 17.9 sec longer
80:45-81:00 / 19:19-19:34
At this point in the movie, Lisbeth finally mentions the 17-year-old Mari while they drive somewhere (she says it off-screen).
In the EV this of course was not included, since the whole scene could already be seen (on-screen) at 77:42 / 13:46-15:58.
A few pictures for your guidance:
81:29 / 20:03-21:40
The Theatrical Version now cross-fades from a blurry photo of Martin to a shot Martin arriving with his car.
However, in the EV the scene fades to a shot of the people on the street in front of the Millennium building. Malin tells Erika in private (Janne just left the room), that Janne is in contact with Wennerström. She found that out when she was looking through his e-mails [this incident was already shown in the EV - the mail that she sent to Mikael was also forwarded to Janne]. Erika is shocked and then says that she has to fire him as soon as possible, whereas Malin says that they should rather use this situation to give Janne some false information. Erika is thrilled and jokingly asks why a politically talented person like him works for Millennium.
EV 97.3 sec longer
81:42 / 21:53-22:16
This take of them getting out is a little longer. Then follow some additional scenes of them walking into the house - the first shot begins distinctly earlier.
82:05 / 22:39-22:41
The two of them examine the evidence for a forced entry a little longer.
82:41 / 23:17-23:20
Mikael watches Lisbeth a little longer and nods after he talked to her about her photographic memory.
83:04 / 23:43-23:51
Lisbeth turns around and continues to smoke.
85:54 / 26:41-26:47
Mikael is shown a little longer. Then you see Lisbeth who eats something.
86:04-86:11 / 26:57-27:44
The conversation between Mikael and Henrik was extended for the EV. Therefore, the two versions differ intensely, since Mikael bids goodbye a little earlier/different.
In the Theatrical Version there's an alternative shot of Henrik holding the pictures in his hands. Mikael then says that he should first of all should convalesce. Then there's a medium long shot of him getting up and taking the pictures from Henrik.
In the EV, Henrik changes the subject and apologizes for letting Lisbezh/the detective agency making inquiries - probably because he's impressed with Mikael's proceedings. Mikael calms him down, especially because Henrik should rather concentrate on recovering. Henrik talks a bit about the rest of the family and says that they would rather like to protect their little "Vanger-state" from Mikael. Isabella is especially against his investigations. However, Mikael does not think that she constitutes a threat to him. Then he gets up (shown from a different angle) to get the photos.
The EV then cuts to the middle of the shot that was already mentioned for the Theatrical Version (the scene where Mikael gets the photos and then turns away).
EV 39.5 sec longer
86:16-86:21 / 27:49-28:07
Even though the first few seconds are in sync, the versions differ towards the end.
In the Theatrical Version, the take is a little longer. Then you see Mikael - Henrik refers him to Morell (because of the last quotation with the abbreveation BJ).
Then, the shot of Morell begins a few frames earlier.
In the EV Henrik refers him to Morell - shown in two different shots (at first you see a close up shot of Mikael, then a close up shot of Henrik).
Henrik says that he also wants to find out what happened to Harriet. He says that he deserves to get a second chance.
Mikael contorts his face and then Henrik waves him goodbye.
EV 13.2 sec longer
86:23 / 28:09-28:11
Morell pulls the fishing rod back in the same take.
86:30 / 28:18-28:21
Mikael waves his hand towards Morell a little longer.
86:42-86:46 / 28:33-28:39
In the Theatrical Version, Mikael is shown a little longer; then Morell takes a look at the photos. In the end you see MIkael for a few more frames when he points at the photo (because of the name "BJ").
The EV cuts to Morell a little earlier. Mikael says that he could need his help. Of course, he agrees to do it. In the same take he points at "BJ".
EV 1.7 sec longer
86:51 / 28:44-28:48
Morell is shown earlier. He again states that the local police could not find any connections between the murders.
86:58 / 28:55-29:06
Morell asks for commonalities between the women, something that could have been relevant for the murderer. Mikael says, that the bible quotations and their sex are the only things they have in common.
The following shot starts a little earlier than in the Theatrical Version - at the beginning of the take he still looks down to the pictures.
87:11 / 29:19-29:22
The both of them are shown slightly longer. Morell gives the envelope with the pictures back to Mikael.
88:04 / 30:15-30:18
Mikael grabs the newspaper from the table - underneath it, there's another front page with an article that talks about Henrik's investment. This plot segment has only been included in the EV.
In the Theatrical Version, the following shot of Mikael begins a few frames earlier (not illustrated below).
EV 2.6 sec longer
88:11 / 30:25-30:28
Birger Vanger is shown a little longer; he talks about some scanals.
In the Theatrical Version, the following shot of Mikael begins a few frames earlier (not illustrated below).
EV 3.2 sec longer
88:26-88:28 / 30:43-30:54
In the Theatrical Version Arabella turns her head to the side.
The EV cuts to Mikael; then, Isabella goes on nagging: she's absolutely not in favor of Henrik pouring into the propaganda tabloid Millennium.
Martin calms her down; this take begins distinctly earlier.
EV 8.3 sec longer
88:46 / 31:12-31:24
Martin and Mikael's discussion is shown longer in the EV. Again, Henrik's investment is mentioned.
Mikael says that they need him in Hedeby. Martin counters, that they also need him at Millennium. When Mikael asks what the two things have to do with each other, Martin says, that he would deputize for Henrik in case of his absence. Mikael immediately confounds this statement since Henrik only signed the contract on the condition that he won't be involved in Millennium's buisness activities.
In the Theatrical Version, the following scene follows a little earlier (not illustrated below).
EV 12.2 sec longer
89:45-89:52 / 32:23-32:43
In the Theatrical Version, the take is longer and Mikael adresses Cecilia's sister Anita and consequently thinks.
The EV shows Mikael turning around and mentioning the sister from another perspective.
Cecilia subsequently turns around angrily and says that she (during his arrival) thought that he might breathe new life into the hate-filled Vanger-Clan. By now, he's just as obsessed with Harriet's disappearance as Henrik.
She leaves and Mikael stays behind thoughtful.
EV 13.1 sec longer
90:01 / 32:52-32:54
A shot during Mikael's flashback is a little longer.
90:04 / 32:57-33:06
Earlier inside Mikael's appartment: He pulls off his jacket and goes to the wall with the photos.
90:13 / 33:15-33:25
Mikael still stands in front of the wall ruminatively. Then he looks through the window and sees Lisbeth arriving.
90:23 / 33:35-33:36
Let's get random:
The Theatrical Version shows the two of them going inside the house for 3 more frames - in return, the EV shows the first shot inside the building a little earlier.
EV 0.6 sec longer
90:26 / 33:39-33:42
Lisbeth looks at the wall a little earlier and nods affirmatively when Mikael compares the two photos.
90:43-90:44 / 33:59-34:00
In the EV, Anita's photo is shown a little longer, while in the Theatrical Version Lisbeth is shown earlier.
No difference in time.
92:56 / 36:12-36:28
Lisbeth looks at Mikael's wounds and already at this point wonders if Mikael had seen the shooter. In the Theatrical Version, you can hear this during the following (normally void of dialogue) take of Mikael inside the bath tub.
Then she says that he urgently has to take a hot shower.
93:27-93:28 / 36:59-37:05
In the EV there's an additional short dialogue between Mikael and Morell about the (alledgedly) hunting accident.
In the Theatrical Version, the previous long shot is a little longer (not illustrated below).
EV 5.8 sec longer
93:52 / 37:29-38:12
Mikael turns to the other investigators who say that they couldn't find any useful clues. Then he's taken to his accommodation - there, the scene starts a little earlier. Lisbeth asks how it went and Mikael replies that he had to stay at the police station for seven hours - still, they believe that it was a hunting accident. Then he asks her about her equipment. She replies that she got it from Milton Security.
The Theatrical Version continues when you see Lisbeth's laptop (with a camera switched on).
97:05-97:06 / 41:25-41:35
In the EV there's a little more dialogue. Mikael asks for copies of the files. Morell says that these are already on ther way from Karlstad. Mikael grins contentedly and punches Morell's shoulder in a friendly way.
In the Theatrical Version, Morell only finishes his sentence (not illustrated below).
EV 8.8 sec longer
97:09 / 41:38-41:46
The shot starts a little earlier. Lisbeth takes the duct tape to fixate the photo. In the background, Mikael comes closer.
97:10-97:11 / 41:47-41:48
Random: In the Theatrical Version Lisbeth turns in the same take, while in the EV, the following shot of her from the front starts earlier.
No difference in time.
Alternative Footage / Re-Cut
98:47-98:53 / 43:24-44:42
In the Theatrical Version, after the conversation (including the plan to burgle Harald) follows a picture of Harald. Then you see Mikael at night, going to the appartment.
The EV shows Mikael a little longer. Then, the two of them first visit Martin.
Martin tells them, that the familie's accountant is in Hedestad. Mikael wants to know if all data was stored. This seems to be a little awkward for Martin, so he wants to know what Mikael is looking for. For now, the latter wants to keep that to himself. Martin says that he informed Frode who wants to look after it. Subsequently, he appologizes for missing a Millennium meeting and shortly asks Mikael about his wound.
Then, Lisbeth enters the Vanger's company archive - this is also included a little later in the Theatrical Version (for this, see 99:42-100:15; again, it's not illustrated below).
At the end of this sequence the shot of Harald's house at night begins earlier; Mikael approaches it slowly (the Theatrical Version continues in the middle of this take).
EV 72 sec longer
99:42-100:15 / 45:31 (bzw 44:01-44:37)
Now you also see Lisbeth entering the archive in the Theatrical Version.
You might recognize that the first (Lisbeth and Frode walking through the hallways) and the last take (Frode watches Lisbeth) are slightly longer.
EV 3 sec longer
100:49 / 46:05-46:07
The take is longer: Lisbeth flips the file shut and leaves.
103:11 / 48:29-48:32
The take is longer in the EV: Mikael watches the Martin who walks forwards.
In the Theatrical Version, the following shot of Lisbeth in the library begins a few frames earlier (not illustrated below).
EV 2.9 sec longer
119:25 / 64:46-64:47
After more than 15 minutes without any differences they (probably as a matter of principle) altered the following scene: The shot of the police car in front begins a little earlier.
123:03 / 68:25-68:28
The thoughtful Henrik is shown a little earlier.
123:09 / 68:34-69:46
Before Mikael addresses Harriet, the conversation is much longer.
At first there's a longer shot of Frode asking what they should do now. Mikael replies that they have to identify the bodies to then inform the relatives. Henrik puzzles over how to make up for the damage and if a financial donation would be okay to do.
Frode notices what a great story this is and Mikael agrees. However, he won't write it. Henrik nods (probably a little relieved because the family honor is save) and says that he doesn't know how to thank him. After all, the riddle cost him half his life to solve. Morell says that this has been his first and last case.
126:23-126:34 / 73:00-73:34
The conversation between Mikael and Harriet ends differently.
In the Theatrical Version Mikael is shown a little longer, than it cuts to the thoughtful Harriet.
The EV again shows Harriet. Here, she asks if Mikael's appearance has something to do with Martin's "car accident". Mikael wonders at how she knows about this. Harriet snappishly replies that they have an internet connection there.
Mikael grins but soon gets serious again and shows her his wound on his neck. He says that this is what her brother did and that he almost got killed. Harriet puts her hand on his shoulder and says that she's not surprised about that.
EV 22.4 sec longer
126:55 / 73:55-74:03
Lisbeth waits a little longer longer. Meanwhile, the care home's employee announces a visitor for Agneta Salander via telephone. THen she tells Lisbeth to go to room 314.
137:45 / 84:53-85:09
Mikael is shown for a few more seconds during the Interview. Then there are some additional shots of the Wennström-group's offices being cleared. There are some off-camera comments of a newscaster, saying that his corporation build upon "mailbox-firms", faked bills, loans, and transactions abroad.
137:54 / 85:18-85:55
In the EV you again see the newscaster - she finishes her news report onscreen (because of the previous additions, it is slightly postponed).
Then there's also a solution for the plot about the traitor Janne: While the newscaster goes on talking about an infiltrated informant you see how Erika calls Janne in her office. With a frown, she throws an envelope on her desk. Then, Janne leaves.
The following shot of Erika and Malin begins slightly earlier. Then, Mikael appears in the background.
The Theatrical Version only shows the last photo of Wennerström for 0,6 more seconds (not illustrated below).
EV 36.2 sec longer
137:59-138:01 / 86:00-86:09
In the EV Mikael at first goes to Erika. After a moment's hesitation, they kiss. The colleagues raise their glasses to Mikael.
In the Theatrical Version Mikael is shown distinctly earlier clinking glasses (he already already raises his glass).
EV 7.8 sec longer
138:06 / 86:14-86:22
Mikael and his colleagues celebrate a little longer.
138:15-138:19 / 86:31-87:23
In the Theatrical Version there's just a reaction shot of Mikael & co in front of the TV during the news report about Wennerström's death.
The EV shows an alternative reaction. Then you get a little insight in Lisbeth's emotional life: She waits for Mikael in front of the Millennium desk. Nervously she looks at herself in the reflection of the shop window. When Mikael comes out, plucks up courage and takes a few steps - then Erika also comes out of the door and hugs Mikael. Lisbeth's face darkens and she goes in the different direction.
At the end, the newscaster is shown a little earlier.
EV 47.6 sec
Credits / Alternative Footage
139:33-146:30 / 88:34-89:12
Here, the last shot of the Theatrical version fades out for about 5sec. The EV shows the shot without this effect. Then follow the end credits.
These are way more detailed in the Theatrical version.
Theatrical Version 382.2 sec longer