Review: Let the Right One In

Let the Right One In
Directed by Tomas Alfredson
Starring Kare Hedebrant, Lina Leandersson and Per Ragnar

Adapted from the novel by John Ajvide Lindqvist, Let the Right One In is finally being released in Perth cinemas.

Anyone who follows movies will no doubt already be aware of this Swedish vampire film, which became the subject of intense online buzz after wowing audiences at Tribeca Film Festival and geekathon Fantastic Fest.

Thankfully, it’s hard to be indignant at the belated debut (it was released 5 weeks ago on the east coast and is already available on DVD in the US) because it is absolutely worth the wait.

Throw out all preconceived notions of a vampire film, because Let the Right One In is stunningly original. Oskar (Hedebrant), a meek 12-year-old boy living in Stockholm, meets and befriends Eli (Leandersson), a 200-year-old vampire in a 12-year-old girl’s body.

Oskar and Eli find a counterpoint in each other’s lonely existence. Oskar is bullied and friendless at school, and Eli is a constant threat to everyone around her. Their friendship blooms into a strange but wonderful kind of adolescent romance as they positively impact each other’s lives.

Eli imbues Oskar with strength to stand up to his bullies, and Oskar takes it upon himself to protect Eli in her weaker moments. However, with the number of suspicious deaths rising Eli is aware that she must soon flee, leaving Oskar behind with his tormentors.

What’s so clever about Let the Right One In is the way it juxtaposes the unthinking cruelty of children against Eli’s disturbing nature. There’s something poetic about the way Oskar and Eli are both undergoing growing pains, and Kare Hedebrant and Lina Leandersson are sweet and endearing together in one of cinema’s most unusual couplings.

In contrast to the blood-red narrative, Tomas Alfredson shoots in chilly whites and drab greys, creating a grim, still atmosphere. Thankfully, he forgoes the usual cheap thrills that plague the average horror film.

It’s not a scary film in the usual sense, but it’s compelling in a way too few horror films are these days. In a genre where the gory death of dislikeable characters has become the norm, how rare and enjoyable it is to actually be emotionally engaged.

Sadly, there is already an American remake on the cards, with Matt Reeves (Cloverfield) tipped to direct. There’s absolutely no reason to remake an already perfect film, and Reeves has wisely decided to adapt the novel again himself rather than work from Alfredson’s blueprints.

Still, let’s be blunt: it won’t be as good. It’s inevitable, and everyone knows it. See it now, the way it deserves to be seen.

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