Let the Right One In

I've been putting this film off for quite some time, perhaps even since its release. When I first attempted to watch it, I was in an undeniably irritated mood and this chore was too great an obstacle to get through, especially when the run time begrudgingly stared back at me through my flat screen computer monitor. These over hyped "indie" arthouse films have begun to rub my nerves raw with the sandpaper-ish reception of critical praise. Such over used phrases calling a film a "genre masterpiece" and other abominations of writing. I mean, I'm no James Joyce, but as every film with individual thoughts gets viewed, I believe that every creative thought is deserving of its own.


In case you've been under a rock or new to festival favorites, Let the Right One In is based off of a popular Swedish novel of vampires, love, and pre-pubescent emotions. Oskar, a bullied, tormented, and awfully alone child seeks revenge and companionship through a 12 year old girl he met named Eli. This little girl he has fallen in love for her is a master at puzzles such as the daunting Rubix Cube. Oh, and she's also a vampire who has been feasting off of members of Oskar's little snowy town. The bond these two share is pure and adolescent in nature. To call any film heartfelt other than Let the Right One In would be a crime.


This eventual Swedish masterpiece marks the birth of a masterful spinster of tender emotions and critical resolutions. Tomas Alfredson has directed mainly unknown productions unknown to anyone outside of his homeland. With a script that breathes raw life into wonderful characters and cinematography so glamorous that it makes violence feel like a necessity, this film is proudly as stunning as hyped up to be. I can only imagine from the explosive unseen potency of Let the Right One In, that Tomas will in fact will begin directing Hollywood budgeted films and will eventually sacrifice artistic integrity for a bigger paycheck. Such woe is the infection of Hollywood.


The lore of the vampire is perfected with a hybrid of beliefs. While technically not considered a vampire in the novel, this was just a precaution taken by the author to create one of those mysterious atmospheres by allegedly creating a new species of similar instinct but whole new morals. This prototype of vampiric being doesn't quite reach the suspense of Count Orlok or the terrifying appearance of those in 30 Days of Night but Eli and co. are ruthless in nature which results in extremely shocking scenes of violence that would never be expected from such a delicate romance. This is a frightening new age tale of vampirism that reaches a plan of eroticism unheard of all part to its extremely young cast. This fusion throws all needless baggage of in memory of the death of the modern vampire film. Say hello to post-vampirism and its many fruits.


Let the Right One In is simply a fairytale that needs proper recognition (which it has seen more than enough). This must be seen to believe. To simply apply details to the face of this film, one might choose to mix equal parts of dynamic execution, a forbidden romance, and a brutal level of violence creating something you'd never begin to expect and a film almost worthy of family viewing. Any character of any social status can find gusto in this modern horror/romance. For many, Let the Right One In put Sweden back on the map. What a luxury it is to view a vampire film that doesn't embrace a rock n' roll Hot Topic lifestyle.

-mAQ