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Aug132009

FILM REVIEW: LET THE RIGHT ONE IN

Thursday, August 13, 2009 at 7:32PM |

Leila De Lara

Let the Right One In (Lat den ratte komma in)

Released: 2008

Directed by: Toma Alfredson

Written by: John Ajvide Lindqvist

Genre: Horror/Vampire

Let’s face it, it’s been a while since vampires didn’t loom menacingly, brood in dank corners with Hi-Tec weaponry, or indeed…sparkle. Not that we minded all this occasionally, but with this we finally get to watch something that pays homage to the genre transcending, tender depictions of vampire lore we once saw in say, the Nosferatu movies (1922 & 1979), or even Del Toro’s nod to humble mythology in his compassionate tale, Cronos (1993).

Impressively adapted for the screen by the original author of the considerably darker book, Let the Right One In, rather fittingly takes its name from a song by an artist who fondly wrote lyrics for the lonely - Morrissey.

Oskar, a twelve year old boy living in the bleak, urban sprawls of the Stockholm suburbs, is pale, innocent, and persistently tormented by school bullies. He spends his isolated youth dreaming of being tough enough, and indeed, cold hearted enough, to fight back. It is during this time of resentful alienation, that he meets Eli. Doe eyed and dishevelled, she roams the night outside their apartments with little more than a cotton dress and a manner so much more understanding than the other children their age.

Learning of Oskar’s fears, she advises him to stand up for himself, and despite his frightening outlook and broken home life, he finds himself attached to this gentle girl. Except really, she’s about as gentle as the Incredible Hulk at smash time.

The plot is brutally realistic in comparison to the expected boy-meets-girl, and oh-my-she’s-a-vampire routine. Her predicament is gloriously un-romanticised, preferring to depict it as a simple means to an end. The subtle nuances of the young actors, the fine skills of the strong supporting cast along with the dynamic, almost intrusive voyeuristic cinematography, accumulate into a very impressive piece. You start to care for Eli’s welfare, who I suppose is an anti-hero (despite her tenderness and penchant for rubix's cubes) what with her drinking the locals to death. Even the cats of the area aren’t impressed with her antics. There is however, understated comedy in the shocks the film delivers, and the special effects that hint at vampirism, are clever suggestions that are gone in the blink of an eye - literally.

So I guess there are no explosions (oh ok...there is one pretty epic fire), and no moody angst drawn speeches where a generic sexy vampire prattles on about his centuries of sadness. Instead we have soulful, unsordid, innocent exchanges that resonate friendly intimacy. Meanwhile the tension and suspense are reminiscent of such cult films like Anderson’s Session 9 (2001).

Satisfying and macabre, I urge the humble horror or art house fan to relish this complex unglamorous, unpretentious film, and despite some mild continuity errors, it is if anything, a very refreshing take on the genre.

At the very least you’ll get one answer to the question I’ve pondered all of my horror loving days: What happens if a vampire just really REALLY wanted to come in? Forcefields? Spontaneous combustion?

The only disappointment I had on the evening of my viewing, was the discovery that a Hollywood remake is in the pipelines. Expect a child actor of the moment, misguidedly channelling the dulcet tones of that angry perpetual six year old from Interview with the Vampire, which although a good performance in its own right, would totally not work here. Expect vulgarity, and shaky cam effects drawn from the Matt Reeves school of directing.

FILM REVIEW: LET THE RIGHT ONE IN

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