Let’s just be clear: I know that The Girl with the Dragon Tattoo is Swedish. My comment is on its popularity in American culture: its best-seller status in the NYT for 18 months, triggering a Hollywood remake of the original Swedish film. The heroine, Lisbeth, is whom I’m most interested in.
Noomi Rapace as Lisbeth in the 2009 Swedish film and Rooney Mara in the 2011 American version
The Autist
Let me be clear: I’m not talking about a classified DSM-IV disorder when I talk about Lisbeth’s autistic traits – I’m just talking about the word autist as it derives from the root autos (self), which refers to a lack of empathetic sensitivity. Classic autists in fiction include: Spock, Data, Sherlock Holmes, C3PO, Sheldon from The Big Bang Theory, Monk, and (often) children. Autists serve the purpose of deconstructing society: they often involve humorous responses to or dissections of modes of relating that come natural to most humans. Here is Sheldon’s deconstruction of the social idea of dating:
I present to you the Relationship Agreement. A binding covenant that in its 31 pages enumerates, illuminates and codifies the responsibilities of Sheldon Lee Cooper (hereinafter referred to as the “Boyfriend”) and Amy Farrah Fowler (hereinafter referred to as the “Girlfriend”)
In TGWTDT, Lisbeth interacts autistically: one of the first things said about her report is that though it is thorough, it lacks her personal opinion. She, stonefacedly, refuses to acknowledge that she understands any reason why her opinion would be useful. Throughout the movie, Lisbeth is expertly and unthinkingly wholly dedicated to performing her obsessive tasks with excellence: autists almost always are (Monk, River Tam).
The Competent Social Outcast
Lisbeth’s upbringing and fringe placement in society should, according to social evolution, render her unable to support herself. On the contrary, she achieves competency without the support of society, and spends much of her time defending herself from the flaws of the establishment (every scene with the social worker, his eventual blackmail). She joins Julia Roberts in Pretty Woman, the woman from The 5th Element, and Jane Eyre as the neglected gamines who nonetheless flourish and become experts at fending for themselves.
Sexualized
The essence of Lisbeth’s character is a common one that seems to be increasingly attractive to American audiences: the sexualized, independent autist. This is River Tam from Firefly, the woman from The 5th Element, and is echoed in Edward Cullen from Twilight, Dexter, and Dr. House. These characters reveal society’s increasing fetish of self-efficacy – they exude strength, independence, and provide an expression of rage at the more subtle social injustices and inhibitions of social norms. They do not respond to social patterns and expectations, like Sheldon Cooper or or C3PO, but unlike those humorous characters, the sexualized competent autist provides a violent and hypersexual (almost gnostically sexual – oftentimes, like with Julia Roberts in Pretty Woman and Lisbeth, the characters detach themselves from their sexuality and use it as a tool) successful escape. They offer a character who does not succumb to illogical non-verbal communication and oppressive social codes: they interact logically, not heatedly (Lisbeth asking Mikael for permission to kill a serial killer), and ultimately succeed, and achieve a sexualized, center-character status at that, as opposed to the comic relief status of the typical autist.
What does this say about American culture? I’d say that it indicates a reaction against the stress of social niceties. These movies could be called counter-culture, but a very thinly veiled counter-culture – no, sexualized autistic characters are not appearing in chick flicks with Owen Wilson, but The Girl with the Dragon Tattoo was by no means an obscure movie. The characters precede what I think is going to become a more prevalent theme in American culture: a fetish of successful social rejection.
Hugo was another demonstration that a large part of Scorsese is dedicated to documentary. His movie plots rarely rely only on a simple story structure, but draw at truth about some world or society or person – in The Aviator, it was the telling of the life of Howard Hughes; in Kundun it was the exile of Dalai Lama Tenzin Gyatzo from India; In Shutter Island it was the mechanics of early 20th century mental health treatment. Scorsese has also made a fair share of documentaries, on topics like 
reassuring sense of the fantastic – lovers of flim noir, steam punk, cyber punk and any aesthetically-intentional style may drool a little. I am unsure about how I feel about 3D – I am too poor and not interested enough to see the more expensive version of the movie – but the fact that directors like Scorsese and Jackson are using it is making me consider itmore carefully. I can at least see how the aesthetic would work well with the round, polished dimension that 3D movies have.
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