Tiny as a sparrow, fierce as an eagle, Lisbeth Salander is one of the great Scandinavian avengers of our time, an angry bird catapulting into the fortresses of power and wiping smiles off the faces of smug, predatory pigs. The animating force in Stieg Larsson’s “Millennium” trilogy — incarnated on screen first by Noomi Rapace and now, in David Fincher’s adaptation of “The Girl With the Dragon Tattoo,” by Rooney Mara — Lisbeth is an outlaw feminist fantasy-heroine, and also an avatar of digital antiauthoritarianism.

Her appeal arises from a combination of vulnerability and ruthless competence. Lisbeth can hack any machine, crack any code and, when necessary, mete out righteous punitive violence, but she is also (to an extent fully revealed in subsequent episodes) a lost and abused child. And Ms. Mara captures her volatile and fascinating essence beautifully. Hurt, fury and calculation play on her pierced and shadowed face. The black bangs across her forehead are as sharp and severe as an obsidian blade, but her eyebrows are as downy and pale as a baby’s. Lisbeth inspires fear and awe and also — on the part of Larsson and his fictional alter ego, the crusading journalist Mikael Blomkvist (played in Mr. Fincher’s film by Daniel Craig) — a measure of chivalrous protectiveness.

She is a marvelous pop-culture character, stranger and more complex than the average superhero and more intriguing than the usual boy wizards and vampire brides. It has been her fate, unfortunately, to make her furious, inspiring way through a series of plodding and ungainly stories.

The Swedish screen version of “The Girl With the Dragon Tattoo,” directed by Niels Arden Oplev, often felt like the very long pilot episode of a television crime show, partly because of Larsson’s heavy-footed clumsiness as a storyteller. Despite the slick intensity of Mr. Fincher’s style, his movie is not immune to the same lumbering proceduralism. There are waves of brilliantly orchestrated anxiety and confusion but also long stretches of drab, hackneyed exposition that flatten the atmosphere. We might be watching “Cold Case” or “Criminal Minds,” but with better sound design and more expressive visual techniques. Hold your breath, it’s a time for a high-speed Internet search! Listen closely, because the chief bad guy is about to explain everything right before he kills you!