It's no secret that "let the Right One In" is my second favorite movie of all time, and was, in my opinion, in no need of a remake. The experience of watching this movie is akin to that of reading a great book- afterwards you want to recommend it to everyone, in hopes that they will feel the way you did watching it for the first time.Oskar (Kåre Hedebrant,) an unhappy twelve-year-old boy, is bullied by his peers and fantasizes about making them pay, though for the time being the violence stays within the confines of his imagination. While outside his apartment complex at night he meets Eli (Lina Leandersson,) a strange twelve-year-old who offers him for the first time a chance to dream of a different life.
Eli is not like other girls. She goes outside into the bitter Swedish winter wearing no shoes. Occasionally she smells like a putrid corpse. Animalistic growls emanate from her gut. But she floors Oskar with her concern for him and her insistence that he must fight back- no matter what the cost.
For those of you who aren't familiar with the story, Eli is a vampire- which doesn't stand by itself as a big spoiler, as it is eluded to in the first twenty-or-so minutes. Eli is not twelve, but rather thousands of years old, and her intentions toward lovelorn, nerdy Oskar are ambiguous throughout.
This is a extraordinarily well-shot film- the snowy, coldly beautiful backdrop is the perfect setting to tell this story, and the cinematography is gorgeous without being showy or pretentious. It is the kind of story that makes you fall in love with it's characters. It doesn't matter if Eli is a vampire or a zombie or even a robot- she is an undeniably real presence, and you root for her as she carries out what must be done.
Lina Leandersson is surprisingly good and carries most of the acting duties on her small, vampiric shoulders. Kåre Hedebrant is a little underwhelming at times but still makes a decent effort, and is nevertheless acts much better than Daniel Buttcliffe is the early HP years. He pulls off the mix of darkness and pain in Oskar's heart combined with his ultimate naivete.
There's a lot of symbolism in the second half of the movie (Oskar closing the doors of his toy cars, anybody?) which you may not catch if you are overly literal-minded or are not paying attention. The film never lets us forget the suffering of Eli's victims, including Lacke, a local drunk she ensnares with a nasty trick and makes a snack out of.
The strength of "Let the Right One In" is that it cares as much about it's characters as it's blood and special effects. The small bit of controversy it earned with its content involving children is unfounded, and should not deter you from watching what is most certainly one of the all-time greats in modern horror.
