Let the Right One In was the recent horror phenomenon usually known as “the Swedish vampire flick.” A combination of excellent actors, in-depth character development, and mature execution made it a top notch vampire film that blew other blood-sucker tales out of the water. Hence, when Hollywood announced that a re-make was in the works, the original film’s fan base made their consternation known. Even I went in with the most cynical of sentiments (“Did they just make it into an English language film for those too illiterate to struggle with subtitles?”). Surprisingly, I left the cinema sunk deep in stunned reflection.
It’s 1983 in Los Alamos, New Mexico and 12 year-old Owen is struggling: his parents are in the midst of a divorce, he’s bullied by three jackasses that are twice his size, and his only solace is sitting at an empty playground singing the Now and Later candy advertising jingle. Things start to change when fellow 12 year-old Abby moves in next door.
At the jugular of this vampire tale is a coming-of-age story. Kodi-Smit McPhee’s performance as Owen is disarmingly genuine as he calls his estranged father looking for guidance – only to be quickly dismissed. One scene in particular in which Owen is bullied recalls the abhorrent rape scene from American History X–it contains none of the male nudity, but conveys the same suffering and shame. The touchier aspects of Let the Right One In involve the ambiguous gender of Eli (Abby) and her relationship with Oskar (Owen). Surprisingly, Reeves subtly delves into this territory as Owen’s roaming eyes reveal his emerging sexual curiosity, and in a scene in which Abby undresses out of focus to then lie next to Owen.
The film opens with American iconography that initiates the issues of inherent evil: Ronald Reagan is heard off screen giving a speech about such matters, and a photo of (a very Anglo-Saxon) Jesus Christ looks down on Owen as he steals from his mother’s purse. Ultimately Owen’s inaction reveals that the banality of evil may be more sinister than the murders performed by Abby.
Let us not forget that the film’s R-rating gives it some true bite: bullies taunt with the f-bombs all children know and when blood flows, it ain’t pretty. Reeves uses the shocking violence as a motivation for reflection, not titillation, in a way reminiscent of Cronenberg’s A History of Violence. Both directors are interested in how violence affects the characters, not the rise it provides for audiences.
One very striking element of the film is director Matt Reeves’ ability to show, not tell. In avoiding this amateur mistake, Reeves reveals his expectations of his audience (that you aren’t a bunch of idiots) and shows that you’re in the hands of a professional.
The film does have a few warts: brief moments of CGI look ridiculously akin to Mr. Gollum and Chloe Moretz has a hard time conveying Abby’s melancholy without seeming one dimensional.
I would implore you though, let not these minor issues detract from an amazing film. Retelling the story of Let the Right One In involves not a mere change in languages, but wrapping American culture around the story in a way that fits like a comfy thrift store jacket. The previously mentioned iconography of religious and political gods, along with the 80’s music and atmosphere, make this feel like a truly American film.
Given the last decade, it’s easy to see Let Me In as a dirge for American goodness. One could argue that from the Cold War through Clinton era the assumption by U.S. citizens was that their country was good. “We fought in Vietnam for freedom, passed the Civil Rights and Voting Rights Act. What more do you need to do to prove inherent goodness?” Since the September 11th attacks, though, we have started a war we now know was based on lies and have violated the Geneva Convention by torturing prisoners. MINOR SPOILER The fact that Owen’s inaction costs someone their life, SPOILER OVER and the juxtaposition with the previously mentioned iconography of “Good”, it’s hard not to feel ourselves in Owen’s place. We are not only unsure of Owen’s identity, we don’t know who we are anymore. Can there be atonement for the sins of Owen, our country, ourselves?
Let Me In is a film of such virtuosity that it calls to mind the horror greats from the 1960’s and 70’s (Rosemary’s Baby, Carrie), where exquisite directors came to the horror genre to make the films…not respectable, but damn good, in no small part due to their emphasis on character. Reeves made sure to hew to this mantra and the result is one of the best vampire films in years.
*I will do a comparison of Let Me In to Let the Right One In in a later post. On its own merits, Let Me In is fantastic.
Fri. 10.01.10 5:45 pm PST
Remington: Although I have not yet viewed the U. S. version, “Let Me In,” I have viewed the original,”Let the Right One In,” and per your review, it sounds like the Director of the U. S. Version may very well have caught the essential feel and spirit of “Let the Right One in.”
Since I experienced my young adult phase in the 1980’s, it will be interesting to see if the Director has been able to catch the 80’s “Zeitgeist,” (German for, ‘The Spirit of the Times.’)
A Historical Note: Regarding “The Cold War,” this era comprised from approximately 1945 to circa 1989/91 (The actual End of the Cold War began in 1989, but some sources feel the actual ‘end of the End’ was circa 1991.)
Of course, The Korean War, The Vietnam War, The Grenada and The Panama Conflicts were most harrowing and unfortunate.
As I grew up during the 60’s and 70’s, I expererienced significant anxiety regarding the potential threat(s) of Nuclear Annihilation.
While no intentional Nuclear Acts occurred (Chernobyl was an accident), there was very frequently, if not almost always, the fear of either the USSR or USA initiating ‘Mutually Assured Destruction’ (A.K.A. “M.A.D.”)
I look forward to seeing “Let Me In.”
Remington, Thank you for the review.
I’d really like to hear a follow up concerning the film’s ability (or inability) to match up with what the 80’s were like for you. Interesting point.
I was interested to see how “Let Me In” compared to the original movie version, and the book. I saw the movie last night, and while it was good it just didn’t have the same feeling as “Let the Right One In.” It was good, but probably a B to “Let the Right One In”‘s A grade. The CGI effects bothered me, and they could have chosen a better insult than “little girl.” I liked the movie, but it’s not even close to the original.
I had specifically avoided watching Let the Right One In prior to seeing Let Me In so I could measure it by its own merits, and I think in that regard it is quite an achievement for American horror.
I considered watching “Let The Right One In” before going to see “Let Me In,” but I actually didn’t either. I do own the DVD, and have read the book so it’s hard for those not to stick in my mind when I watch a remake. I do agree that it is an achievement for American horror though, I can’t stand most American horror movies. I wouldn’t have minded a slightly more in depth adaptation of the original book. Also, they totally changed Harakin’s character. *Spoiler* They made him just seem like a boy like Owen who had fallen in love with Abby. That’s not their relationship in either the Swedish version or the book.*End Spoiler.* It was a good movie, but like usual the original was better.
Pingback: Vampire Rumble: Let the Right One In vs Let Me In « The Filmsmith
Pingback: 2010 Staff Picks | The Filmsmith
Pingback: Troll Hunter reminds you to fear bridges | The Filmsmith
Pingback: Colin Ferrell and David Tenant give Fright Night re-make bite | The Filmsmith
Pingback: Cast of Fright Night re-make gives it bite | The Filmsmith
Pingback: Fright Night re-make’s cast gives it bite | The Filmsmith