Let The Right One In (1 Viewer)

[Johnny Angell]

I just watched this on blu and thought it was very good movie. There is a discussion over in the HD software section about this movie. It has come to light that apparently the English subtitles have been badly butchered. Check it out here: http://www.hometheaterforum.com/htf/...ml#post3529183

 

[EricSchulz]

I think I might have to re-rent this. When I started seeing plotlines (some that did have "spoiler" tags, some did not) I stopped reading the post here and in the DVD section thread. NOW I am feeling that I want to watch the movie again to see some of the things that might not have been so obvious before.

 

[Dan M]

MINOR SPOILERS:

All valid points but my feeling is why would Eli be manipulating another child to be her guardian? In order for her to blend in safely with society she would need an adult to watch over and provide for her. This would not create suspicion in that an adult would appear as a parent and would not draw attention to their situation. Having Oskar at his age to be her full time guardian could be dangerous for her I would think. This is what leaves me to believe that her feelings for Oskar are more genuine than manipulative. But the manipulation is there as well I think, just not overtly. She does have her "needs".

A vampire tale indeed. But ultimately I think this is a very strange adolescent love story between two very lonely misfits who have found each other. They have let the right one in.

Just my take

 

[Josh Pounds]

There are in my opinion several clues to suggest that Eli's relationship with Oskar is much, much different than with Hakan.

From the first time we really see Hakan and Eli interact with one another as they're being dropped off by the taxi cab, we are aware that Eli is the dominant party in the relationship. Eli walks into the apartment building straight away leaving Hakan to struggle with their things. This is of course more apparent during the scene where we hear Eli berating Hakan for botching the murder. Eli is a thousand times more powerful and terrifying than Hakan will ever be, and the only thing that Hakan can do is capitulate and beg forgiveness. Another good example is the scene where she tells Hakan that he might not want to go out, and she very mechanically touches his cheek. Hakan sinks into himself for a moment, relishing the physical affection, but it's clear that Eli feels nothing and is performing this act precisely because she knows what it'll do to Hakan. It's also possible at this point in the story that Eli is willfully putting Hakan at risk, with full knowledge of what he'll do if he's caught. Manipulative, mechanical actions toward Hakan can also be seen in the hospital scene, there's even a hint of what might be contempt for Hakan after we see him fall out of the window. This might've been the plan all along. It's interesting to note the role-reversal here regarding pedophilia...it's the adult who grooms the child, not the other way 'round as it is here. Eli is a manipulative monster and I believe she has had to learn to become that to avoid emotional pain.

On the contrary, we see her interactions with Oskar and witness Eli making herself vulnerable many times. There are also instances of Eli initating physical affection towards Oskar, and she displays actual emotion.

However, the scene that made me believe there is an element of codependency between Oskar and Eli is the scene where we hear Eli telling Oskar he needs to stand up for himself. It's possible that Eli sees Oskar as a "project", and is drawn to him because he has always been a victim. She is obviously a predator in the animal sense, but may also be a predator in the psychological sense. (as a side note, it's interesting to me to think about which came first...was Eli naturally this way and it's a fit with her vampire side, or has the wiring in her brain adapted to being a predator?)

Oskar readily accepts these roles. I don't believe Oskar knows how or wants to be the dominant party in any relationship.

There are also a couple of instances where Eli has to control her most base instinctual urges regarding Oskar: The cellar scene of course, and another most people might miss. There is a scene after Hakan has not returned with the second boy's blood and Eli is doubled over in pain facing Oskar's wall. She raises her hand to tap on the wall, but hesitates and ultimately does not. She might've been thinking about Oskar as a potential meal. We see her later still idly tapping on the wall when she hears the radio report about Hakan and makes the decision to visit him.

There's also of course the pool scene...she knows she has to go away, but willingly potentially sacrifices herself for Oskar's life. She uses the part of herself that she hates, and is embarrassed by, to save Oskar. She makes herself vulnerable to herself here, too.

Thanks for the great discussions everyone.

 

[BrettGallman]

Horror Reviews - Let the Right One In (2008)

I really enjoyed this one; an interesting take on the vampire genre for sure.

 

[Angelalex242]

People are going to accuse me of thread necromancy.


Oh well. It's worth bringing up.


I've come to a number of conclusions.


First:Oskar is more likely on his way to becoming a vampire then becoming a Hakan. She wants him for a partner. They can always find an adult caretaker later. But Eli has likely concluded that Oskar is not replaceable. The question for me isn't whether he's being used, it's how long he's going to keep seeing sunrises. Eli won't want him to age too much, for fear things will become unbalanced.

Second:The deleted scene where Eli gets slapped is fascinating. This boy, wrestling somebody who can likely benchpress somewhere close to 600 lbs and winning, remembers what bullies do to him when they successfully wrestle him to the ground. They slap him. This probably happened over and over again. So, on instinct, he does it to her as a victory sign. But then, he stares into her eyes, the pain and sorrow that must be plastered all over her face, which we can't see from this angle, and realizes he just did something he HATES when it happens to him to somebody he loves. Hence the whole 'forgive me' thing with his quick embrace. It has nothing to do with her unnatural strength, and everything to do with the fact he just hurt someone he loves.

Third:Invite me in was also fascinating. Here she enters his house, looking sad when he puts her to the test like that, and of course starts bleeding. Trusting that Oskar will make it stop before it gets too bad. Once he sees her pain, of course, he does exactly that, yelling 'no' first.

Fourth:The Bloody Kiss. Eli leans in to kiss him, evidence of her real nature plastered all over her face. Oskar does not refuse because of the blood. It's part of her nature he must accept. And so he does.

Fifth:I'm using 'she' to refer to Eli because, I think, she's chosen to continue to play a female role to make Oskar more comfortable. Why wave around a non-existent wiener when it makes the love of her life happier to pretend it was never there?