Since Nosferatu first reared his ugly head in 1922, Vampires have made innumerable appearances on celluloid. We've seen an evolution in the films from the early silent movies, through to Hammer, to the MTV/punk stylings of The Lost Boys. There's also been the Vampire ass-kickers of late with Blade and Underworld. It's a monster with a mythology, that can transcend genre, and tone. Be it intense horror, action, or spoof. As a whole though, Vampire films don't often strike an almost all encompassing positive chord with critics. Whilst in truth, the Vampire films of recent times have been growing stale, lifeless, and unimaginative.
With Let The Right One In, director Tomas Alfredson, gave the ailing Vamps a few gallons of free-range man blood, and breathed new life into Count D. The film stands head and shoulders above almost an entire sub-genre. Let The Right One In is a work of sheer brilliance. Both in concept and delivery. This Swedish film breezes in with subtlety and depth, to completely overshadow the somewhat shallow, and marketing comes first, Hollywood flicks, such as Twilight.
The story centres on a young Swedish boy, Oskar (Kare Hedebrant) who's scrawny physique, woeful haircut, and nerdy intelligence, paint a bully's bullseye across his back. He lives in an apartment block with his mother, who of course seems blissfully unaware of anything that's happening with Oskar. Into the apartment next door, moves a young girl Eli (Lina Leandersson, who looks like a young Amy Winehouse, but with slightly better night time habits) and her father. Eli is different, and behaves strangely, which fascinates young Oskar, who himself is an outsider. Both find in the other a kindred spirit. Eli as it transpires happens to be a Vampire. Writer John Ajvide Lindqvist has crafted a beautiful tale of adolescent infatuation, whilst simultaneously keeping up plenty of Vampire mythology too.
The film is beautifully shot. Between Alfredson and his cinematographer, Hoyte Van Hoytemer (yes that is his name), every frame is wonderfully precise. The setting of a stark and cold Sweden in 1982, comes to life. The lighting is evocative, while the framing gorgeous, from every camera move, to focus pull. Such thought, attention to detail, care and love has gone into the film, where-by an American equivalent to this film would be heavy handed and crude in comparison, like a Gorilla decorating a cake.
The cast are all excellent. Scenes are beautifully played out. There's no back minded worry about getting to a "point" quickly in case audience attention wanes. It allows the actors to dictate the pace of a scene, instead of relying too much on editing to bring the emotion. The young actors especially though impress. Hedebrant and Leandersson have to carry the movie on their shoulders for most of the running time. It's a big ask for young thesps, but these two pull it off with aplomb.
Overall Let The Right One In is a remarkable film. It's touching, haunting, and beautiful. There are gruesome moments of sheer brilliance and power. They don't rely on cheap editing tricks, or scares. But every time someone dies in this film, Alfredson times it and shoots it, almost pitch perfect, and often without resorting to the most obvious way to show it. You'll have to see for yourself, but I can tell you, I'll always flinch opening blinds from now on, and I'll approach swimming pools with trepidation. *****
With Let The Right One In, director Tomas Alfredson, gave the ailing Vamps a few gallons of free-range man blood, and breathed new life into Count D. The film stands head and shoulders above almost an entire sub-genre. Let The Right One In is a work of sheer brilliance. Both in concept and delivery. This Swedish film breezes in with subtlety and depth, to completely overshadow the somewhat shallow, and marketing comes first, Hollywood flicks, such as Twilight.
The story centres on a young Swedish boy, Oskar (Kare Hedebrant) who's scrawny physique, woeful haircut, and nerdy intelligence, paint a bully's bullseye across his back. He lives in an apartment block with his mother, who of course seems blissfully unaware of anything that's happening with Oskar. Into the apartment next door, moves a young girl Eli (Lina Leandersson, who looks like a young Amy Winehouse, but with slightly better night time habits) and her father. Eli is different, and behaves strangely, which fascinates young Oskar, who himself is an outsider. Both find in the other a kindred spirit. Eli as it transpires happens to be a Vampire. Writer John Ajvide Lindqvist has crafted a beautiful tale of adolescent infatuation, whilst simultaneously keeping up plenty of Vampire mythology too.
The film is beautifully shot. Between Alfredson and his cinematographer, Hoyte Van Hoytemer (yes that is his name), every frame is wonderfully precise. The setting of a stark and cold Sweden in 1982, comes to life. The lighting is evocative, while the framing gorgeous, from every camera move, to focus pull. Such thought, attention to detail, care and love has gone into the film, where-by an American equivalent to this film would be heavy handed and crude in comparison, like a Gorilla decorating a cake.
The cast are all excellent. Scenes are beautifully played out. There's no back minded worry about getting to a "point" quickly in case audience attention wanes. It allows the actors to dictate the pace of a scene, instead of relying too much on editing to bring the emotion. The young actors especially though impress. Hedebrant and Leandersson have to carry the movie on their shoulders for most of the running time. It's a big ask for young thesps, but these two pull it off with aplomb.
Overall Let The Right One In is a remarkable film. It's touching, haunting, and beautiful. There are gruesome moments of sheer brilliance and power. They don't rely on cheap editing tricks, or scares. But every time someone dies in this film, Alfredson times it and shoots it, almost pitch perfect, and often without resorting to the most obvious way to show it. You'll have to see for yourself, but I can tell you, I'll always flinch opening blinds from now on, and I'll approach swimming pools with trepidation. *****