If you are a copyright owner and believe that your copyrighted works have been used in a way that constitutes copyright infringement, here is our DMCA Notice.
The ground is covered with a layer of snow, under that a slippery-thick layer of ice, and North Jersey looks about as much like the suburbs of Stockholm as it's ever going to. When I think of Sweden, I think of thrashy, amphetamine-charged Death Metal, monumental acid rock, and Liv Ullmann and Bibi Andersson in Persona. All good things—great things even. Now Sweden has given us a highly original, for-the-ages horror film that embraces genre, while at the same time redefining and transcending it. Let the Right One In (2008), by director Tomas Alfredson, is based on the bestselling novel of the same name, published in 2004 by author John Ajvide Lindqvist, who also wrote the screenplay. Already, we have a Scandophile's dream production.
I finally got around to seeing Let the Right One In, after reading the enticing coverage and receiving several personal recommendations on it. I'm sorry on the one hand that I waited so long, though the current grim surroundings make this a perfect time to embrace such a story, dressed as it is in blood, snow and bare trees. And though the secret is well out about this film's greatness, I couldn't resist chiming in to heap yet more praise on this landmark picture, easily one of the best I've seen in the last ten years.
Lately some of my favorite horror films are those that truly address the human condition, using horror and its fantastical possibilities as a milieu to tell "real" stories. I've never fallen in love with a vampire, spoken with the dead or been taken aboard a UFO, though I've often wished that I had, if only as a mantle of proof that something exists beyond yearning, love, loss and bills in the mail. When I was a victimized, outcast, adolescent monster-movie nerd, obsessed with (and equally fearful of) the darkness, much like Oskar in Let the Right One In, I didn't have an adorable, tragic female vampire living next door to nurture my spirit and calm my confusion. So Oskar, and this film, tell that story for me.
This is about as close as I get to fully embracing any kind of heartwarming entertainment—the most touching love story anyone could tell for my singular demographic. I prefer my reaffirmation of life's value served up with mayhem, dismemberment, and tears of blood. And perhaps that's why Let the Right One In is so tremendous, and so deserving of its critical acclaim: we all want to enjoy a good horror movie and get those grisly thrills, but when a film can fascinate us in that way, shock us, but also move us in a genuine and sophisticated manner, it momentarily lifts horror out of being kooky or dismissible (Rosemary's Baby had similar impact in its day.) So with apologies to my fellow "proud horror dorks" (thanks Clayton), this is one that's just so good we'll have to share it with mainstream filmgoers, who will most certainly fall for its many charms.
Let the Right One In is also beautifully photographed, director Alfredson having a Kubrickian eye for the living spaces of working-class Swedes: the flats, apartment blocks, courtyards, hospitals and woods. And though the film already has an English-language remake in development (reportedly to be directed by Cloverfield director Matt Reeves), it's hard to imagine removing this story from its settings and achieving anywhere near the same level of cinematic excellence. Let the Right One In debuted on US screens in late October, and is currently showing at the Angelika Film Center in lower Manhattan. The film will receive its much-anticipated Region 1 DVD release on March 10.
Comments
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.
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.
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.
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: http://www.youtube.com/watch?v=e2DdAokSm8M Does anyone know what album this is from? It's on my slsk wishlist, but I'm impatient.
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.
"(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?
Hi,
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.
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.
Posted by: James | January 27, 2009 at 10:16 AM
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.
Posted by: Clayton | January 27, 2009 at 10:27 AM
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.
Posted by: James | January 27, 2009 at 11:08 AM
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.
Posted by: Clayton | January 27, 2009 at 02:46 PM
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.
Posted by: Howdy Dodad | January 27, 2009 at 03:12 PM
Great movie and here is a respected attention:
http://www.incontention.com/?p=3883
Posted by: Deryton | January 27, 2009 at 05:11 PM
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: http://www.youtube.com/watch?v=e2DdAokSm8M Does anyone know what album this is from? It's on my slsk wishlist, but I'm impatient.
I WANT IT NOW.
Posted by: crotchbat | January 27, 2009 at 05:25 PM
I look forward to seeing this based on your recommendation. But have you seen "Children of Men"? Best movie since Goodfellas, at least.
Posted by: boil | January 27, 2009 at 10:42 PM
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.
Posted by: James | January 28, 2009 at 07:34 AM
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.
Posted by: cheerios | January 28, 2009 at 11:28 AM
whups "Let the right one Slip in" i mean.
Posted by: cheerios | January 28, 2009 at 11:30 AM
Check out these awesome Let the Right One in dolls (and my review)!
http://www.awesomeallday.com/?p=436
Posted by: Awesome All Day | February 18, 2009 at 05:20 PM
"(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.
Posted by: Joltin Joe | May 01, 2009 at 04:58 PM
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.
Posted by: Trelldom | June 25, 2009 at 04:46 PM
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?
Posted by: Stephany | July 30, 2009 at 02:26 AM
Hi,
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.
Posted by: Bluebloodeddriver | May 22, 2010 at 10:10 AM
Блок хаус, вагонка и доска пола
Posted by: SergejStepanov33 | June 20, 2010 at 08:07 AM