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And second, he leans over the body and heaves a heavy sigh, suppressing a sob before skittering into the night. Using Lindqvist’s novel as a basis Alfredson has fashioned an astonishing cinematic accomplishment, while presenting a captivating and unique love story. Eli learns that Oskar is being bullied by schoolmates and encourages him to stand up for himself. Eli is prompted to waylay and kill a local man, Jocke, making his way home after having said goodnight to his best friend, Lacke. Apparently, Oskar understands, as he allows Eli to shower and put on one of his mother's dresses. Yet the close confines of the space work perfectly for scenic and prop designer Madeline Ashton, who uses three ladders, several entrances and spaces behind the rows to give the actors levels and areas to play with throughout the performance. "[64] The film was ranked #15 in Empire's 2010 list of "The 100 Best Films Of World Cinema". [54] One negative review came from Owen Gleiberman of Entertainment Weekly, who gave the movie a "C", characterizing it as a "Swedish head-scratcher", with "a few creepy images but very little holding them together". Huddled in hand-me-down clothes, hair slick with sweat and hanging in desultory mats over his forehead, eyes preternaturally wide and the color of dishwater, Eli’s porcelain pallor merely confirms he is death warmed over. They were supposed to be "mirror images of each other. ", "If you sold it, you could buy a whole nuclear power plant. She casually accepts his quick explanation that he “fell at recess.” Oskar’s father is an interesting character, presumably homosexual. Lindqvist had insisted on writing the screenplay himself. The film endorses (up to a point) a view of Eli as controlling and manipulative. ( Log Out /  But Let the Right One In suggests that an ethical bite, a consensual bite, offered as an invitation to a world of mutual understanding and intelligibility – even if a world apart – is the path to the closest and truest sort of bond: a shared, steady humanity. Plying him with sweet caresses and gently rebuffing his jealousy over “that boy” he has begun to go out with, Eli knows that Håkan is beginning to show his age; after Håkan commits a murder in the park but loses his nerve due to passers-by, abandoning his jug of blood, Eli rebukes him in a deep, wet voice that sounds distinctly predatory. ", "Those were the first words I heard you say. Eli repeatedly says “What if I’m not a girl?” to Oskar. The extensive, almost acrobatic movement enacted by both Oskar and Eli (Brian Kocherhans) is both familiar and ritualistic, creating a bond between the two characters that is nearly tangible. Draining him in a snowbank, and unaware that he is being watched by the local recluse Gösta (Karl Robert Lindgren), Eli concludes his feed by doing two things that reflect his ethical commitments. No such arrangement seems to be on the table in Let the Right One In; indeed, Eli makes a point of killing or trying to kill the other Blackeburg residents whose necks he bites into himself. [27] The jungle gym where much of the interaction between Oskar and Eli takes place was constructed specifically for the film. Friendship, even more than romantic love, rises imperceptibly and thickens like a morning fog, suffuses your entire emotional landscape for a while until the inevitable sunshine dispels it with the dewdrops. When they next go out together, to a carnival in the evening, Eli thinks he has finally managed to pass himself off, only to be confronted with another challenge: Oskar offers him a piece of candy. Instead, Oskar reacts with a shrug: “Can we still go steady?”. [15] Alfredson originally wanted to omit this from the film, but Ajvide Lindqvist was adamant that it had to be included. Let the Right One In (Swedish: Låt den rätte komma in) is a 2008 Swedish romantic horror film directed by Tomas Alfredson, based on the 2004 novel of the same title by John Ajvide Lindqvist, who also wrote the screenplay.The film tells the story of a bullied 12-year-old boy who develops a friendship with a vampire child in Blackeberg, a suburb of Stockholm, in the early 1980s.

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