According to Wikipedia, the original title of The Girl with the Dragon Tattoo translates from the Swedish as simply "men who hate women". That would be a very hard sell as a movie title but it gives you a sense of Larsson's agenda. It sounds more like a treatise than a novel, which might be apt. A left-wing journalist himself, Larsson paralleled the treatment of Harriet and other girls at the hands of the Nazi Vangers against the treatment of Lisbeth Salander in the present by a male establishment figure -- in the film, his tastefully minimal apartment is the picture of wealth and refinement against the squalor of Salander's flat -- who demonstrates his total control of her in scenes of awful sexual violence.
Of course, Hollywood will adapt The Girl with the Dragon Tattoo rather than expect American audiences to sit through a film that requires them to read as they go. You would also expect that the story will shift from Sweden and that the Nazi background will disappear accordingly. A story is always portable but a milieu is not, and so the shifting of Dragon Tattoo out of Sweden really makes as much sense -- ie not much at all -- as Ridley Scott's plan to restage the films based on David Peace's Red Riding series in Pennsylvania. On the surface, the Scott decision might make sense too: the industrial cities of America's rustbelt might correspond easily enough to Peace's coalmining towns of west Yorkshire and you can find or at least set police corruption anywhere, but the unexpected occult element in Peace's series was of course the Yorkshire Ripper. Although the timeframe of Peace's four books stretched to before and after Sutcliffe's crimes, running from 1974 to 1983, those murders tainted the entire story, they poisoned the atmosphere, they revealed a wider picture about power and social structure, just as secret fascism does in The Girl with the Dragon Tattoo.