by Sam Juliano
Loneliness and alienation are conveyed with a lucid combination of impressionism and naturalism in a metaphorical new vampire film, Let The Right One In from Sweden. The director, Tomas Alfredson and the writer John Ajvide Lindqvist have fashioned a coming-of-age story within the parameters of vampire folklore, replete with the traditional issues and pains of adolescence, yet there’s a mysterious nordic beauty to the surroundings, and an oddly intoxicating allure to the central relationship.
Oskar, a blonde-haired boy of twelve, who is treated with indifference by his family, and bullied around by his peers, develops a friendship with a girl around the same age named Eli, who happens to be a vampire who is fed blood by her father, or a man who serves as her caretaker. This is never really revealed. In the film’s opening scenes, a boy is abducted by the father and hung upside down to have his throat cut so blood can spout into a pail and be brought back to his daughter. Other people are attacked and killed, and these events serve as metaphors for the fantasies of young Oskar, who himself is collecting newspaper clippings of violent crimes, spurred on by physical abuse.
When the boy first meets Eli, she tells him “I’m not a girl” and indeed her behavior seems to support this, not to mention her unkept hair, disheveled clothes, bare feet that traverse the snow unfazed, and a cold, otherworldly stare and countenance. There is a benefit for each of the protagonists, as Oskar receives the bravery to fight off (and achieve revenge) against his tormenters. and Eli gains some love. Yet, Let The Right One In travels down some familiar narrative paths, and Oskar eventually finds out his girlfriend’s secret. He is at first appalled and dejected, but after he accepts the situation (with yet another dose of parental and peer group rejection) he returns and saves Eli from a vampiric demise from sunlight, by his complicity in another “fang foray” for a blood fix.
The naturalist setting of Stockhom, circa the early 80’s is infused with impressionistic touches like the symphony of blood-letting, and the wondrous painterly ambiance of the wintry environs of this Scandinavian country. It’s like George Romero’s Martin (with its overriding urgency of getting blood as the end all) meets up with An American Werewolf in London. (with it’s menacing atmosphere and violent set pieces). Yet the entire visual design of the film is poetic, with the nocturnal crawl by Eli up the stone exterior of the hospital where her caretaker is being treated on the fifth floor, the fiery demise of one of Eli’s victims when the curtains are drawn, the underwater ballet in the pool scene when a bloody arm and a head descend to the bottom, the scenes of falling snow and white landscapes which place this film in a definitive environment, seemingly flawless for the kinds of impressionistic textures that both color and corrupt its serenity.
Let the Right One In succeeds in creating a fantasy in a natural environment, in making it’s preposterous machinations seem utterly believable in this context. It’s no small accomplishment, and the two leads, the vulnerable, confused and impressionable Oskar, is played by the talented Kare Hedebrant, while the ‘bi-polar’ Eli is played by Lina Leandersson is a compelling performance that inspires the full gamut of emotions. The raven-haired girl, with blood flowing from her ears, head and nose in a moment of fury is a visual tapestry of imposing beauty. The supporting cast has invested able contributions. On the technical side, the cinematographer Hoyte Van Hoytema realizes Alfredson’s visual designs with crystal clear lensing, while the sublime and reserved score by Johan Soderqvist is a perfect atmospheric aural supplement.
In the end Let the Right One In is as aesthetically beautiful as it is emotionally stirring. Not bad for a “coming of age vampire movie featuring 12 year olds!?!
Note: Lucille and I saw “Let the Right One In” on Saturday evening at 7:45 P.M. at the Angelika, and ate afterwards at a bar/cafe that offered up some good snack foods. I had a salmon burger, while Bob had a burger and Lucille a bowl of chili.
My 18yo daughter has recently moved from Buffy-obsessed to Twilight-obsessed, and I must say I really have had enough of vampires.
Though Sam here does makes it all sound like high art in yet another poetic piece.
What really has me enthralled is why my ‘darling’ daughter who still calls me ‘Daddy’, should find such creepy and violent myths so fascinating…
lol Tony! There is definitely an over-saturation point for this subject, and we did have that long run of Buffy, which is still being talked about.
As far as your daughter, she is one of legions who rightly find an alluring psychological side to this, much the same way (in our own youth) we found “Dark Shaows” so enthralling in its network run. Still, I must say I like the way you put that there.
Thanks for the kind words.
I know I said I might get to see this sometime during this week, but I may even end up seeing it today, and I gotta tell you, I am excited! Lovely review, even though I had to skim in parts, I cant wait to come back and read the entire review.
Another outstanding review Sam, and of a film I really would like to see. (especially if it comes to Montclair) The entire piece sounds most intriguing.
Thanks so much Nick. And I can’t wait to hear what you say about it. I predict you will adore it.
Yes, Frank indeed. I am fairly certain it will come there. It is an intrigue from beginning to end.
Sam, I have had my eye on this one for weeks. Great to know it worked for you, but I did read some very positive notices. Excellent review.
Wow Sam, your work here is exceptional. You call this film ‘poetic’ yet that’s exactly what your review of it is. I like that comparison with teh Romero and the Landis film, makes it sound even more interesting, and particularly the paragraph where you describe those ‘set-pieces’ like the weather and the gory pool sequence. I’ll be watching for this one.
Would love to see this. You have managed a beautifully written review that really brings this film to cinematic life.
I skimmed it, but I want to stay as virginal as possible before seeing the film. However, once I do see it, I’ll read all of it. Looks beautiful, Sam.
It would be extremely difficult not to have an interest in this, based on the review. That Swedish setting is really captivating. But I see there are two styles running concurrent.
I know I haven’t poked my head in the comments here lately, but do know I am following along in envy, Sam. I have to tiptoe around this one; I hope I get to see it soon as all my trusted sources have loved it.
I’m also jealous of your proximity to the Angelika. I’ve only been once but have fond memories.
Keep up the great work, all of you!
………one of your finest reviews ever. This is a deal. I will see it as soon as it’s comes around……….
God, you people really go overboard. LOL!!!
Thank You.
Frank A., you really took it the distance–anyway, you surely must see it.
Daniel, one day I know I will meet up with you in Manhattan, and we will visit the Angelika. In any case, you have been on quite a roll yourself, this may be one of the only ones you haven’t caught up to yet.
Thanks Alexander: I am confident you will love it when you are feeling better. Get well soon.
David: This film is pure poetry.
Peter: Thanks for that astute observation, and again, this is a poetic film.
Bill: Thanks so much for that appreciated compliment.
I saw this and while I didn’t love it as much as you, I liked it a lot and would recommend it to anyone, for the most part though I did love it. Splendid review Sam.
Thanks very much Nick!
I look forward to your own review of it.
I hope this does come to the Claridge. Sounds quite good–terrific review I must say.
This one looks really great! I like the setting and the friendship angle.