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Directed By
Tomas Alfredson
Written By:
John Ajvide Lindqvist
Cast:
Kare Hedebrant, Lina Leandersson, Henrik Dahl, Karin Bergquist, Peter Carlberg, Mikael Rahm, Karl-Robert Lindgren, Anders T. Peedu, Cayetano Ruiz, Mikael Erhardsson, Soren Kallstigen, Malin Cederblad, Lena Nilsson, Adam Stone, Jonas Kruse, Kent Rishaug, Linus Hanner, Thomas Ljungman, Julia Nilsson, Bengt Bylund, Susanne Ruben, Per Ragnar, Ika Nord, Pale Olofsson, Patrik Rydmark, Rasmus Luthander, Berndt Ostman, Kajsa Linderholm, Ingemar Raukola, Fredrik Ramel, Christoffer Bohlin, Elin Almen, Elif Ceylan
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Let the Right One in (2008)
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Movie Review by E
March 17th, 2009
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Favorite Movie Quote: "...I've been 12 for a long time."
Astonishingly devoid of horror devices genre fans have come to expect, LET THE RIGHT ONE IN (LÅT DEN RÄTTE KOMMA IN) is a masterpiece of understated horror that really carves its place into your mind. To tag the film "horror" is not as problematic as some reviewers have indicated; it reminds me of THE WICKER MAN (1973) in that it is best regarded as a horror film only after you've seen the film in its entirety, not necessarily as it unfolds. Ken Russell's THE LAIR OF THE WHITE WORM (1988) might make for an interesting co-feature also, not that either of these two horror oddities really would prepare the viewer for LET THE RIGHT ONE IN. It's easily one of the top films from last year, and surely one of the most elegant horror films to emerge in a very long time. It's also worth mentioning this Swedish film marks the respective feature debuts of its talented young principals.
Based upon John Ajvide Lindqvist's popular novel, his screenplay adaptation smartly downplays horror clichés and instead thoughtfully contemplates the relationship that develops between the vampire Eli (Lina Leandersson) and lonely, tormented 12-year-old Oskar (Kåre Hedebrant), who is trapped in a broken home with a perpetual runny nose. Things are even worse at school, where he is bullied daily by a mean kid named Conny (Patrik Rydmark) and his loyal followers. Oskar is intrigued by his new neighbor Eli, who one night interrupts his Travis Bickle-like moment ("You talkin' to me?"). Oskar is in desperate need of friendship, and Eli is the same age as he is—has been for quite some time. He observes she doesn't smell the best, but her aroma improves in accordance with a recent increase in area murders. Eli encourages Oskar to show a little backbone at school, but as their relationship deepens, Eli too seems to become more empowered, and exceptionally more dangerous. She seems to emerge as Oskar's doppelganger, committing acts of violence the boy never would dare (though he admits he would like to kill). Director/editor Tomas Alfredson has given the viewer a lot to consider, with many sequences mirroring later ones, and lots of recurring themes and motifs. The climactic sequence of horror is unlike anything else the genre has to offer, with its unlikely union of the unsettling and the touching. Alfredson obviously set up his showpiece carefully, including an interconnection to the ice skating sequence for those who were paying close attention.
Magnolia Home Entertainment's Blu-ray version presents an impeccable transfer, anamorphically framed at the original theatrical scope of 2.35:1. There is an unusual amount of brightness for a horror film; cinematographer Hoyte Van Hoytema emphasizes snow-covered exteriors occasionally accented by flurries in his 1982 Stockholm. The film's more subtle effects are communicated particularly well via Blu-ray, as when Eli effortlessly free-solos the hospital in search of her aging benefactor Håkan (Per Ragnar), and when her luminous, feline-like eyes register behind Oskar in the cellar. The 5.1 DTS-HD Master Audio experience, available in both original Swedish and an English-dubbed interpretation, is forceful at crucial moments. The sound separation is compelling, especially when Eli's stomach rumbles in bloodlust. Both English and Spanish subtitles are selectable. Additional supplements include four deleted scenes, a "Behind the Scenes" featurette, a photo gallery, and a collection of theatrical posters.
Though the film offers plenty of arresting visuals and clever surprises, I admire it most for what the filmmakers chose not to show. For instance, Eli claims she can fly, and though we indeed see evidence to that effect, this ability never is revealed definitively. Like the great Val Lewton's horror productions of the 40s, LET THE RIGHT ONE IN favors the suggested over the explicit. An American remake is in the works; it will be interesting to see if the filmmakers will have enough faith in the audience to respect the tone of the original.
--Eric Somer, 3/16/2009
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