The enduring popularity of the vampire myth rests, in part, on sexual magnetism. In Let the Right One In, Tomas Alfredson''s carefully controlled, yet sympathetic take on John Ajvide Lindqvist''s Swedish bestseller-turned-screenplay, the protagonists are pre-teens, unlike the fully-formed night crawlers of HBO’s True Blood or Catherine Hardwicke’s Twilight (both also based on popular novels). Instead, 12-year-old Oskar (future heartbreaker Kåre Hedebrant) and Eli (Lina Leandersson) enter into a deadly form of puppy love. The product of divorce, Oskar lives with his harried mother, while his new neighbor resides with a mystery man named Håkan (Per Ragnar), who takes care of her unique dietary needs. From the wintery moment in 1982 that the lonely, towheaded boy spots the strange, dark-haired girl skulking around their outer-Stockholm tenement, he senses a kindred spirit. They bond, innocently enough, over a Rubik''s Cube, but little does Oskar realize that Eli has been 12 for a very long time. Meanwhile, at school, bullies torment the pale and morbid student mercilessly. Through his friendship with Eli, Oskar doesn''t just learn how to defend himself, but to become a sort of predator himself, begging the question as to whether Eli really exists or whether she represents a manifestation of his pent-up anger and resentment. Naturally, the international success of Lindqvist''s fifth feature, like Norway''s chilling Insomnia before it, has inspired an American remake, which is sure to boast superior special effects, but can''t possibly capture the delicate balance he strikes here between the tender and the terrible. --Kathleen C. Fennessy
Oscar, a 12-year-old fragile and bullied boy, finds love and revenge through Eli, a beautiful but peculiar girl he befriends, who moves into his building. When Oscar discovers that Eli is a vampire it does not deter his increasing feelings and confused emotions of a young adolescent. When Eli loses the man who protects and provides for her, and as suspicions are mounting from her neighbors and police she must move on to stay alive. However when Oscar faces his darkest hour, Eli returns to defend him the only way she can.
Beautiful movie Horrible "new" subtitles., May 20, 2009
By Yoga Punguin
Some of you may be wondering if those who are complaining about the bad
subtitles are exaggerating. They are not!
I am listening to the English
language 5.1 audio and just discovered theyre reading the original "good"
theatrical subtitles. They make many scenes much more sensible.
If you want
to experience complete frustration, play the English 5.1 audio with the English
subtitles on. You will understand why there is so much anger. The bad subtitles
really do change and/or ruin some scenes.
Unfortunately, some of the English
language voice work does not do the justice, so listening to the Swedish and
reading the original subs would be ideal. But you cant!!!
What a shame! This
is the sweetest yet most haunting film Ive seen in years. I dont want to admit
how many times Ive watched it the past eight days.
But... this is a very
quiet, slow movie. If you expect a lot of screaming and bloody fangs, youre in
the wrong place.
This is basically a love story... with moments of real
horror and dread. Plus some understated but eerie special effects. Theyre not
flashy, just effective. This movie makes you believe there might actually be
vampires lurking about.
Speaking of love: thats what I feel for this.
the movie hate the subtitles debacle. Again: If you want to hear the theatrical
subtitles being read, listen to the English language 5.1 audio. (I am using the
5.1 English audio. I cant vouch for 2.0. They may have botched that.)
hoping this situation wont lead to a Catch-22: Theyll release DVDs with the
original subtitles AFTER the pressing with the "bad" subtitles is sold out. But
few people want the bad subtitles! Are we going to be stuck with the
incomprehensible English subs? Stay tuned horror/romance fans...
sure you watch until the closing credits start or you may miss an important last
Enjoy. This is a real gem. I wonder if this is the type of movie that
inspires people to make movies?
I love the understatement of this movie. No
screaming and running around. A gentle, sympathetic vampire movie? Thats what
I cant stop thinking this is the type of movie that inspires others
to make movies but Im afraid the American remake will be much louder and
Is this a minor masterpiece? Even the very effective special
effects are subtle but eerie. They dont have to pound you over the head,
How can they improve on the girl walking barefoot in the snow or
her stomach growling (slightly) when she smells blood? The silent but unsettling
way she climbs trees and buildings?
Im afraid Hollywood will have her snarl,
growl, and moan loudly when the boy slits his palm.
Hopefully, theyll prove
me wrong but dont bet the rent on it.
This makes most other bloodsucker
flicks seem lurid and grotesque.
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