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Let The Right One In - Låt den Rätte Komma In (2008)
The Horror of Infection Cuts Deep
Poster for Let the Right One In
Director: Tomas Alfredson
Writer: John Ajvide Lindqvist
Starring: Kåre Hedebrant, Lina Leandersson, Per Ragnar , Henrik Dahl
Coming of age stories have come in many guises over the years. From the sentimental memories (Stand by Me, Summer of 42, Cinema Paradiso) to the confusion and darkness occupying this metamorphosis in life (Mysterious Skin). Few though venture deep into the light starved loneliness and despair coming with disenchanted preteen youth.
The unique Swedish vampire film Let The Right One In thrives on the turmoil and discomfort of these early life shaping and fragile years. The film successfully lures the mythical vampire into our imperfect reality with sparse tender beauty and hauntingly savage melancholy.
Oskar and his issues
Into his low rent apartment building moves a young girl named Eli (Lina Leandersson). Accompanied by a mysterious older man Haken (Per Ragnar), Eli appears to also be a dislocated child lacking in social acceptance. There is something alluring about Eli that Oskar is immediately drawn to her.
The fangs of a tender and malformed relationship thirst and soon Oskar discovers that Eli is a bloodsucking fiend of the night. The innocence of youth is short lived and the inhumane world, predatory by nature spawns a reflection of necessary evil in the name of survival.
Haken at work
John Doe says:
Dark and morose, enchanting and intelligent Let the Right One In removes the flesh of its fantasy subject and autopsy’s the human spirit within. Avoiding the pitfalls of romanticizing vampirism, the film operates outside of the traditional playground while still respecting the school rules.
The film revels in its ambiguity. Exploring the subtleties of human emotion, the themes of loneliness, violence and love that genuinely touch the viewer are compelling.
The European flavor links back to the origins of its cinematic brethren, like F.W. Murnau’s classic Nosferatu which came out of Germany in 1922. This amputates it from recent light weight genre contributions filled with action soaked, mindless comic book heroics.
Adapted for cinema from his own denser original work, writer John Ajvide Lindqvist manipulates the folk lore of those starved for the red stuff and grounds his work in emotional truth. Tempting us with delicate appearances that are readily shattered, the tender savagery rises like the dawn sun.
The screenplay is decidedly condensed from the subplot laden source novel, which increases the attention to character detail and inspires post viewing speculation of back story and the repercussions of the finale.
Directed with stealth, Tomas Alfredson’s comprehension of the text allows him to weave that magical moving picture spell to make us victims of the films delicacies. It is interesting that in an interview over on Horrophile Mr Alfredson admits to having never seen a vampire film. Perhaps this is where the fresh approach to the material gets its solid grounding.
The discreet musical score and cinematography work in unison to mesh a palatable atmosphere that enhances the tone and meaning of every scene.
As good as all the behind the scenes components are it really is the films two young stars that elevate this film to become “benchmark” cinema. Seldom do child actors bring such power and raw, genuine maturity to moments.
The arc of both central figures tracks a path of understanding from convenient friendship to protective affection. Oskar’s transition into the adult world is confronting Eli’s primal thirst for survival. Eli’s is adapting to the ugliness of her cursed physical inadequacy that taint her parasitic companionship curiosities.
Eli takes sustenance
Kåre Hedebrant plays Oskar absent of vanity. Bravely showing all the needy awkwardness and fearful physical reactions with understated skill to make us sympathize rather than ridicule the part.
Slowly gestating in the consciousness, the film draws you in with its slow, but never meandering pace. Every scene moves the picture along while avoiding exposition. Unconcerned with spectacle or hitting expected beats the experience is one that is immersive and in the end can lead to obsession. At least it did for John Doe!
A clip from Let The Right One In
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