Needless to say, this vampire movie trumps Twilight in every single category – acting, direction, character development, acting, audience impact..have i mentioned acting?

“Let The Right One In” has the same premise as Twilight, for it involves a romance between a vampire and a human, but “Let the Right One In” elevates it to a level worthy of praise, unlike Twilight, which deserves only ridicule. Pretty much, it was everything Twilight wanted to be, but wasn’t. Both heart-warming and gut-wrenching, it was a pleasure from start to finish.

The story follows Oskar, a sombre, slightly androgynous boy who has not a friend in the world. He is constantly bullied in school and secretly wishes he had the courage to stand up to them or inflict the same pain he had been dealt. One night, he meets Eli, a slightly disheveled, soft-spoken girl with a certain uncanny grace to her. She is gentle but not altogether shy and the more they enjoy each other’s company, the more Oskar is attracted to her. Little does he know, however, she was attracted to the smell of blood.

Despite not knowing her secret and disregarding any hints she had given him to her double life, they fall in love. It is not outrightly said but it is intensely felt – slowly and subtly. Let The Right One In was indeed a horror movie but does not ever lose focus on its love story center. The acting of both Kare Hedebrant and Lina Leandersson is hauntingly brilliant, expressing ever so hauntingly the hope they have to be together against all odds. Even when Oscar discovers Eli’s secret, he does not flee, nor does he make it seem that knowing her secret changes his feelings for her. He had let her in his life for love, her being a cold-blooded killer wasn’t going to chage his decision to keep her in his life. The scene where he confronts her, was definitely a highlight of the movie, only second to their escape on the train, which was able to capture so adequately the love that these two shared for one another. “Let The Right One In” praise-worthy horror film that doesn’t leave an emotional plot at the door but lets it in – and I couldn’t be happier they did.

Again, like May, I see more of Robin Wood’s idea of repression here than Williams’ or Creed’s ideas on gender. While, yes, there is obviously a monstrous female that has a power that threatens the vulnerable male by its power-in-difference, this was not the lesson I first associated this movie with. I associated it more with the social repression of trusting – the fear many people have of putting their trust in someone who could easily do them wrong, or basically, many people’s fear of falling in love. They’re fearful of opening themselves up to someone and allowing them ample room to hurt them in the process. There is also always the fear that the person you fell in love with will become someone you don’t know at all. His (or her) secrets could see the light of day which will cause you to shed a tear or two in the darkness of your room for the one who wronged you. It crushes this fear in the least sappy way – it’s dark but beautiful take on the love that knows no bounds is indeed enough to warm even the coldest (vampire) soul.




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