Comments on: 2008 CIFF: Let the Right One In (Låt den rätte komma in, 2008)

By: Danny

Danny — Thu, 12 Jan 2012 03:06:58 +0000

Anyone who has seen the film “Melody” – an appreciates how that film ended – will have no problem with LTROI. Both films are more or less from a child’s point of view, and thinking beyond the moment is the curse of advanced years. They leave together, happily, and a moment of happiness is almost an eternity at that age.

By: Marilyn

Marilyn — Thu, 17 Dec 2009 21:43:37 +0000

Stuart - Thanks for stopping by. This impressive film is always a pleasure to revisit. Even though it has been a while since I saw it, its mood and visual impact stay with me. As for the ending, I think that will continue to be a point of contention with audiences now and in the future. Whether Eli really loves Oskar or is just hooking him in out of her own need may never be resolved, and may depend on how one views the possibility of feelings in vampires. I do like vampire films and have seen the evolution of wanting to see vampires as true romantic figures, not just seducers. Let the Right One In is a bit ambiguous about where it stands. Is Eli truly capable of the love we find in Buffy the Vampire Slayer TV series or Twilight. I like the uncertainty of it.

By: Stuart Easton

Stuart Easton — Thu, 17 Dec 2009 21:24:17 +0000

Marilyn, great review firstly! As has already been said, your comparisons to “Wouldn’t It Be Nice..” are spot on, and you’ve produced a well written and interesting piece..
Secondly, yes I know I’m very behind the times. I initially heard about this film in 2008, but no local cinemas showed it (North West England is so terrible for films usually), and I only found the DVD last week..
And now to the main bulk. As a rule, I hate vampire films. They’re, to me, boring, predictable, repetitive and cheesy. I’m a big fan of Horror/Fantasy, but usually avoid vampires because of the above. Because of that, this film shouldn’t have interested me.
What grabbed me however, was the fact the lead roles were 12 (more or less) year old children. From experience of watching too many films, “foreign” child actors pretty much always nail the role, so it got me thinking “ah but can they pull off vampires?”. Kåre and Lina absolutely pulled me into the story, and I found myself truly sympathising with them both.
Eli at the start saying “You know I can’t be your friend..”, but the part of her that’s still a child, and seems, after years of only having Håkan as a companion, a tad on the lonely side, not being able to help but be intrigued by this person that just won’t seem to take the hint. Equally Oskar, the much bullied, lonely, friendless child who although secretly would like revenge on those who torment him, just seems like he wants a friend.
The way the friendship built, and the way Oskar although initially unhappy with the revelation his new friend kills innocent people, can see past this necessity, and in time loves her, just drew me in.
Another rule of mine is I generally don’t watch romance films. I don’t know what it was about this, but it’s one of very few I would gladly recommend to anybody!
For me, none of the scenes seemed “tagged on”, but I’d have liked the deleted scene where Oskar teaches Eli about the numbers on your back game to have been included, as this would have made the scene where she gets in bed and does it to him make a bit more sense..
The ending left me with a big grin on my face. Yes you could think “But he’s 12!! Won’t his parents miss him??”, but for me I think you just need to let the film flow. Open your mind slightly, Eli just saved Oskar even though she said she needed to go.. For me this showed him how much he means to her, and although yes they’re only 12, it’s a great “lovers into the sunset” ending that just seemed right. I prefer it to some random ending where she just disappears, or stays local. It just fits. And the morse code “kiss” was just a big “AWWW” moment!
Sorry to drone on! Just wanted to say some thoughts..

By: Clay

Clay — Wed, 22 Apr 2009 23:10:48 +0000

Marilyn,
I think so, too, but perhaps not in the ‘food-provider’ way Hakan was employed for. I couldn’t help noticing that Oskar, even with knife in hand, didn’t have the stomach for attacking a man who was trying to kill Eli IN HER SLEEP.
I think he saw shouting to warn her as an alternative, and would have been willing to do more had it been necessary. That scene brings to mind one more of the chilling and touching questions for which I so love the film: isn’t there a point at which we ALL would kill to protect and preserve the life of someone we love?

By: Marilyn

Marilyn — Thu, 16 Apr 2009 08:21:33 +0000

Remi – I think your points are well taken, and I do think the ending is both perfect and flawed. As for whether Oskar will have to kill for Eli, not initially, I wouldn’t think. He’s no bigger than she is, and wouldn’t have the strength that Eli counted on Hakan for. As for wehter Oskar would do it, we’ve seen him allow Eli to kill her attacker in her home and his anger at his tormenters at the beginning of the film manifest in a violent fantasy. I think he’d kill for Eli.

By: Remi

Remi — Thu, 16 Apr 2009 08:02:39 +0000

I personally thought that the ending was both effective and ineffective. Ideally, after being suspected for the murder of townspeople, it would be wise for Eli to leave the town (and Oscar along with her). However, as discussed before, because of Oscar’s youth it would be difficult for him to escape his parents without dilemmas arising. Also, if Oscar travelled with Eli, wouldnt it imply that he would have to kill for Eli? Taking into account that Oscar was against Eli’s habit (well…necessity) to kill innocent people? This doesn’t fit Oscar’s personality or character. However, it was a sweet ending to the movie.

By: Clay

Clay — Mon, 23 Mar 2009 20:17:09 +0000

I agree, the parents are an issue which would probably have to be dealt with. I prefer to write original fiction, but I was so enthralled with LTROI that I’ve started a fanfiction sequel (no eye-rolling please) called Let the Old Dreams Die (the second line of the Morrissey song that inspired Lindqvist’s original title)…and one thing I’ve had to consider is the reaction of Oskar’s parents to what he and Eli have done. It occurs to me that neither of Oskar’s parents fully understood his isolation, the real depth of the danger the bullies presented to him, and certainly they have no way to know the lengths Eli went to to save Oskar, nor indeed, anything much about the relationship between the two children.
My inordinately romantic hope is that a situation might present itself which would allow Oskar’s parents (one or both of them, I haven’t decided) to cross paths with Eli and Oskar, and come to realize that being together, in the world outside Blackeberg, might be a better future for the two of them than alone in the life they’d each led before.
But of course, before that happens, the parents *are* looking for them, they *are* still on the run, dealing with the impact of what they’ve done and the demands of Eli’s hunger, and the possibility that the three dark-clothed strangers who’ve boarded their train just recently are probably policemen, and probably looking for them…

By: Marilyn

Marilyn — Mon, 23 Mar 2009 09:39:41 +0000

Longwinded posts not only tolerated, but encouraged. It has been several months since I saw this, but so many scenes remain vivid in my mind. I do like the ambiguous nature of the ending, though I found it unconvincing that they would be able to run away without Oskar’s parents on their trail. Therefore, a “happy” ending doesn’t seem likely to me, however you define it.

By: Clay

Clay — Sun, 22 Mar 2009 19:45:41 +0000

You’re welcome. Even two months after seeing LTROI for the first time, I’m still haunted by the movie. Regarding the ending, though: both Alfredson (the director) and Lindqvist (the novelist) describe LTROI’s ending as ‘happy’. Lindqvist also terms the story as being that of ‘two children pulled out of darkness by love’, which flies in the face of many of the gloom-and-doom pronouncements Ive seen around the internet about the supposed sinister nature of the ending. Not saying you read it this way
I think one of the skillful things about the film is its capacity for being read, like good literature, in several different ways. I think that’s one of the reasons why LTROI is a rare case of the movie being better than the book. As a writer myself, I’m familiar with the rigorous process of revision, and I think writing the script for the movie gave Lindqvist a chance to get rid of many of the things that got in the way of the redemptive love story that seems to have been his real point: things like the ambiguous gender stuff (really hardly touched on in the film, compared to the book), and the hideous Hakan-as-walking-undead-hardon stuff.
I love, love, love this movie. I started a Yahoo group to hopefully promote conversation about it, but so far, nothing. Thanks for tolerating my longwinded post here.

By: Marilyn

Marilyn — Mon, 02 Mar 2009 08:39:33 +0000

Thank you, Clay!

By: Clay

Clay — Mon, 02 Mar 2009 07:55:55 +0000

The message passed between Oskar and Eli in Morse code at the end of the film is the Swedish word ‘PUSS”, which, translated to English, is “KISS”.

By: Marilyn

Marilyn — Wed, 04 Feb 2009 10:51:00 +0000

Tomek – If I knew Morse Code, I’d tell you. Alas, I don’t.
Thanks for stopping by.

By: Tomek

Tomek — Wed, 04 Feb 2009 10:36:01 +0000

…but what did they say to each other at the end (knocking on the box)?!?!

By: Marilyn

Marilyn — Sat, 13 Dec 2008 07:47:20 +0000

Sam – That is a wonderful compliment. Thank you so much, and I’m glad you enjoyed it. Please feel free to look around the place.

By: Sam Juliano

Sam Juliano — Sat, 13 Dec 2008 07:14:27 +0000

Very impressive piece of writing. Exceptional in fact, and the first one of yours I’ve actually seen, even though I have been reading your terrific comments at Getafilm. I would go as far as saying it’s the best review of LET THE RIGHT ONE IN I have yet seen, which means I’ve really been missing out not reading Marilyn Ferdinand. But I wasn’t aware you had a review blog until today. Anyway, from that engaging BEACH BOYS lead-in, which for me was particularly on the mark (as I saw and reviewed a Brian Wilson concert on my blog that I saw three weeks ago, and was seduced yet again twice that night by their best song “Wouldn’t It Be Nice” which even eclipses “Good Vibrations” for it’s timeless, bouncy and effervescent quality) through the brooding widescreen snowscapes and the rightful excitement of the two lead performances, this is thought-provoking and eloquent prose that deserves to be read by everyone.
I will be adding your blog to my own blogroll today.

By: Marilyn

Marilyn — Sat, 22 Nov 2008 15:27:47 +0000

Nick – I’ve thought a lot about this film after reading the many opinions of it around the blogosphere. What the future holds for them? Well, it’s starting to remind me of the end of The Graduate: Elaine and Benjamin (Eli and Oskar) are on a bus, happy that they got away, and then the “now what?” look passes over their faces. We don’t get that from Eli and Oskar, but I think for Oskar at least, it may only be a matter of time.

By: Nick

Nick — Sat, 22 Nov 2008 13:30:27 +0000

I saw this film for the first time today and truly loved it.
I agree with Marilyn’s review, though I did chuckle a bit at the cat bit and I loved the last scene. To me it doesn’t matter what they are doing and where they are going. The important thing is Oskar and Eli are together and they are happy. What the future holds for them, who knows?
A great movie.

By: Erin D.

Erin D. — Sat, 08 Nov 2008 01:54:20 +0000

Great review, Ferdy. I just saw this film and enjoyed it as much as you did.

By: Rick Olson

Rick Olson — Wed, 08 Oct 2008 21:21:06 +0000

Fine piece, Marilyn. I really want to see this one; I am disheartened that there is an American remake already planned. That’s never a good sign.

By: Marilyn

Marilyn — Wed, 08 Oct 2008 12:57:41 +0000

Yes, that’s what I meant. I haven’t seen any of the Oscar-nominated films from 2007 and few from previous years unless I went on the behest of a friend or relative. The nominees, with a few exceptions, usually are overrated, IMO.
I’m not a big Spaghetti Western fan, but I may make an exception for Once Upon a Time in America.