Let the Right One In (2008)

Nothing is more tried and true - and, at this point, many would say tired - than vampires in horror films.  Pretty much anything that can be done with vampires has been, from bloodthirsty walking corpses to tragic anti-heroes to shiny emo kids.  The rules and lore around them are solid, although occasionally the sillier parts are modified or done away with all together.  Still, vampires are vampires, and there is only so much one can do with them.

That is why Let the Right One In, using a screenplay adapted by John Ajvide Lindqvist, who also wrote the original novel, seems to be different even if there is nothing new added to vampires themselves.  A good deal of the reason it seems different is because of director Tomas Alfredson, who manages to create an entire world out of an isolated suburb of Stockholm, Sweden.  It's a combination of rural and expanding suburbia, with the vampire living in a pretty much empty apartment - and being a kid to boot - that changes things enough to make it more believable.  Also, the vampire is a side character in the story, even if they are a catalyst for most of what takes place. 

Oskar (Kåre Hedebrant) is a young boy living in a block of flats with his mother outside of Stockholm in the 1980s.  He is frequently bullied at school as he is both physically weak and not interested in sports.  Rather, he is obsessed with murder and true crime.  He spends occasional weekends with his father in the country, but feels like he is not wanted by either of his parents. 

He is without friends until a child named Eli (Lina Leandersson) moves in next door with a man named Håkan (Per Ragnar) that serves as a caretaker.  During the day Håkan makes sure the child is safe, while at night he procures sustenance - which, in this case, is blood.  Unfortunately, he's not that good at it, or has at least grown weary, and his first attempt in their new location has to be abandoned, making the news.  It also forces Eli to hunt, which has its own dangers for both Eli and others.  Oskar soon finds a friend in Eli despite the latter's original reluctance, and also soon finds out what his friend is.  

Not much is told about Eli's origins, as the vampire is loathe to admit anything other than physical age to Oskar.  There are hints, but Alfredson and Lindqvist are interested only in revealing the facts about Eli that matter.  While things do happen - including unexplained deaths and one woman being turned into a vampire by accident - the focus is on Oskar.  Barely anyone treats him like he exists and, despite his interest in forensics, there is little about him that hints of anything above average intelligence.  He is just the sort of kid who needs a strong and supportive friend like Eli.

That is where the story truly shines.  Håkan, of course, is not Eli's father.  There are hints that at some point he was just like Oskar, someone who needed a friend to connect with and possibly protection from those who would take advantage of his physical and mental failings.  While Eli truly seems to care for Oskar, that care is apparent as well for Håkan, as well as jealousy on Håkan's part when Eli begins to spend more time with Oskar.  No matter how much Eli may care for either of them at the heart they are tools to get protection when vulnerable and to help prevent the accidents that can happen when Eli hunts alone. 

The movie would be nothing without the chemistry that is evident between Kåre Hedebrant and Lina Leandersson, and they are believable as two outcasts becoming childhood friends.  Typically if this was a Hollywood film the children would have been older, but in this case both were close to their film ages while making the movie.  It does create some uncomfortable and questionable moments when looked at from an American point of view, particularly in light of revelations about Eli that are slowly brought to light as the movie goes on.  

It still does have many typical horror moments, particularly in the subplot involving Eli's impact on the lives of a number of people in the neighborhood, and those parts are done as well as the story between Oskar and Eli.  Although taking place in Stockholm Alfredson made the movie in a town further north, and the constant snow and the quiet of the surrounding environment are just as noticeable a presence as any of the people.  This was his debut feature film and it showcased his visual style, which also worked well for his adaptation of Tinker Tailor Soldier Spy.  It's a shame that The Snowman was such a major disaster that his career has not recovered. 

As for Lindqvist's story, it's been adapted recently into a now-canceled streaming series that, from the description, bore little to no resemblance to his book or this movie other than having a vampire involved.  A Hollywood remake called Let Me In was released in 2010 that, unlike a lot of the remakes of the time, is not supposed to be too bad.  Still, it is really hard to get past the emotional impact of the original, both for the mixed feelings one will have for Oskar in the end and the way that tired, old vampire tropes can feel new again if done the right way.  

Let the Right One In (2008)

Time: 114 minutes

Starring: Kåre Hedebrant, Lina Leandersson

Director: Tomas Alfredson