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January 27, 2009



I saw it a few weeks ago, at the Angelika, and it is a *great* movie. I wish I could have watched it in a theater other than the Angelika (I'm not a fan of the place), but you can't have everything.

If there's an American remake, I'll be astonished if uses the same ending. I can't imagine the suits in Hollywood allowing it.


Remake? Nooooo! Well, between the two of us, I wish there were more horror dorks out there, so introducing this film to the mainstream isn't so bad. It reminded me in so many ways of Kubrick; the cinematography, the pacing, and the uncertainty of it all. I'm glad, also, that the ending wasn't your typical vampire fare. (Spoiler: some of the genre fans were upset that the film had a happy ending, although, upon consideration of what kind of future these two have together, it's still fairly macabre and ultimately indeterminate.)

I guess that if there's a foreign horror film that deserves to be remade, it's this one. I just hope they manage to retain some of the purity of the source material. I won't get my hopes up, though... this is Hollywood we're talking about. Great films get turned into garbage at breakneck speed these days, but it remains a mystery to me why terrible movies don't get remade as great films by enterprising young upstarts. I, for one, would love to see a beautifully shot, eloquently written, and superbly acted version of "Piranha II: The Spawning," but I'll bet James Cameron has other plans.


Clayton -

regarding horror dorks, I heard about "Let The Right One In" from certain segments of the cult film community (web sites and podcasts) long before it played in the U.S., due to screenings at film festivals. The guys who host the (London-based) Mondo Movie podcast gave LTROI a glowing review long before it played anywhere over here. Expectations for this film - again, only in cult film circles - was sizable; it was "the" horror movie I was repeatedly being told I needed to see.


Oh, sure... I learned of the film from its glowing reviews, as well. The "proud horror dorks" line was cribbed from the comments thread of an earlier post by WmMBerger. Actually, I don't consider myself a horror dork in the modern sense. I really only enjoy about 1% of the horror movies coming out today. My favorites are from the late-'60s to early-'80s.

That said, some of my favorite horror dorks are those who only watch horror movies prior to 1955. I've known a few people, oddly, who only watch horror movies made in the last ten years. They're younger, unsurprisingly, and generally people I don't enjoy having conversations with, but they're out there.

So, while I see what you're saying - that this film has had a considerable amount of attention already - I can't help but to think that once a remake hits America, it will be marketed to the mainstream. As much attention as this film garnered internationally, it played mostly at arthouse theaters here in the States. And like so many horror remakes, I'm sure it will be juiced like a grapefruit. Look at how much money The Texas Chainsaw Massacre remake made compared to the original.

All I'm saying is: I'd rather they didn't remake it. But as someone who watches ten to twenty movies a week, I realize that's wishful thinking. Still, I'm one of the few film snobs I know who lives to watch terrible movies, so I'm sure I'll love it. Kinda.

Howdy Dodad

I guess it's inevitable that someone would comment that they didn't think this movie was THAT great; unfortunately, that person is me. Sadly predictable (although few in the genre aren't) with beautiful direction and cinematography. One thing is for certain, an American remake will most likely be a shit-sandwich.


Great movie and here is a respected attention:


I absolutely love this film - just got a chance to see it a second time. In one scene, Oskar puts a record on and grooves out waiting for Eli. I've become obsessed with finding it. A quick search on the internets tells me it's "Kvar i min bil" by Per Gessle (one half of Roxette). The song can be heard in this (unofficial?) trailer: Does anyone know what album this is from? It's on my slsk wishlist, but I'm impatient.



I look forward to seeing this based on your recommendation. But have you seen "Children of Men"? Best movie since Goodfellas, at least.


crotchbat -

according to IMDB (which, admittedly, isn't always reliable) Gessle wrote and recorded the song exclusively for the film. I don't know if it's commercially available (there is no soundtrack CD, in the US, at least). And, yes, it is a *great* song.


The Gessle track is a leftover from his last solo album according to his fansite. If you liked it you may enjoy it, "En Händig Man".

No single coming for it and its not on the official soundtrack, so your best bet is some Per compilation in 5+ years or whatever... sorry.

I'm sure you knew already that both the movie and the book its based on takes the title from the Morrisey track "Let the right one slide in". Lastly I hope they give the remake to Joel Schumacher.


whups "Let the right one Slip in" i mean.

Awesome All Day

Check out these awesome Let the Right One in dolls (and my review)!

Joltin Joe

"(Spoiler: some of the genre fans were upset that the film had a happy ending, although, upon consideration of what kind of future these two have together, it's still fairly macabre and ultimately indeterminate.) "

Happy ending????

Eli clearly had an ulterior motive: to replace her aging and ultimately incompetent familiar with Oskar. She's USING him and when she's used him up she'll find another one. I can't believe so many people miss this subtext.


Nope, she isn't. Thats what the superficial viewer is intentionally misled into thinking. Read Eli's gestures. She loves Oskar from the very bottom of her heart, even going so far to put her life in danger several times for him. And THAT's the tragedy in the end, because Oskar will grow older and eventually die. And then Eli will be the most sad and lonely soul in the whole universe.


hello, I saw the movie ( LoVeD IT!!!) and have a couple of questions though... who was the guy Eli is with @ the beginning of the movie "her provider"? What's his story?


I agree that this particular film is sure a real delight! Mixing the mirth and malice together is a bit of a rarity in horror films, rarer still for horrors to embody an element of revenge; for that matter (think "the Punisher"), the way it draws in the audience to empathise with the Eli and Oskar, agreeing with how these two have a long relationship beginning. OK, I agree with Joltin Joe that it is a narrative missed by many audience because it stretches past the "visable story", yet Trelldom took it further (you didnt need to put down Jolin Joe's view - both of you are right, it was matter of deciding where the endpoint of the story land). I feel the whole film itself had an excellent title, because exactly what it is that, she hand picked him to be a replacement as not only that she yearned for a companion to suit her own "age" but also to let in a right person to know her real secret. Indeed the 'father figure' that she had at the beginning was once the boy as just Oskar is now. I suppose it is hard to know whether out of her pure desparation to keep herself alive by using a 'helping hand, who likes help to kill' or perhaps just her own longing to pretend to a human girl that she once was, with a relationship that avoids sex-lust (instead of blood-lust) since at that age, it is still at a distance in terms of the consciousness, this provide Eli some comfort, some kind of motivation to 'stay young', to feel young, it is a kind of coping mechanism with her immorality. If you would notice that all along the film she was training Oskar (the cupboard killing is one such) it give reason that the film more about the 'rites of passage' for which Eli the vampire used as an 'exchange' to grant his wish to realise his revenge against the bullies, than it is about 'how they got to like each other'... Eli indeed is much older and knows how to empathise with the need for 'revenge' as does again, it does brings her back to 'feeling young' since that young people really understand that denial is about the same as death, and to play with words a bit further, the denial of death is better than death of oneself.


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