Låt den rätte komma in
Tomas Alfredson’s 2008 Swedish horror-vampire-romance film Låt den rätte komma in (Let The Right One In) delivers a unique, original experience of an age-old story. Taken at face value, the film can be seen as a simple story about love, much like the overwrought Twilight, released the same year. Looking deeper into Let The Right One In, themes of sexual repression, pedophilia, parenthood, loneliness, and attachment all emerge in a twisted, disturbing tale. By investigating the history of the film, its technical marvels, and narrative elements, one can find a much more impactful significance than what is floating at the surface.
The film is adapted from the 2004 novel of the same name, written by John Ajvide Lindqvist. The adaptation is mostly accurate, barring a few liberties Alfredson has taken as to not reveal everything to the audience. Regardless, a film should be able to stand alone, creating an original piece of work. The process of adapting Let The Right One In to film began soon after the novel was published, in late 2004. The publisher of Lindqvist’s company, Ordfront, was contacted by EFTI, who would go on to produce the film. They were put on a waiting list of almost fifty companies interested in a possible adaptation. John Nordling, a producer at EFTI, eager to share his vision, called the author himself. Convincing him to do the adaptation he said, “It wasn’t about money, but about the right constellation” (Ivarsson 2). Finding two charismatic leads was a vital part of pre-production. It took Alfredson over a year to scour Sweden for two exceptional child actors to play the parts of Oskar and Eli. For their film debuts, Alfredson found Kåre Hedebrant and Lina Leandersson to play the parts. He says, “Casting is 70 percent of the job; it’s not about picking the right people to make the roles. It is about creating chords, how a B and a Minor interact together, and are played together.” He didn’t even let them read the script at all before or during film, only giving them small cues for each scene (Badt 3). When it came to shooting they chose Lulea, Sweden instead of Blackeberg (a suburb of Stockholm) where the novel actually takes place. This location, almost 600 miles north, was to guarantee a cold atmosphere to echo Oskar’s lonely environment.
Cinematographer Hoyte van Hoytema used a heavy black, white and bluish gray palette to push the bitterness of this locale. The short bursts of red, usually caused by Eli, stand out to create an eerie, deeply affecting cinematic frame and character portrait (Jenkins 1). These bland colors, highlighted with red in moments of fear, create a beautiful illustration. The scene where Lacke goes to kill Eli and she attacks is an ideal example of this. The camera stays outside the door as one can hear the violence going on inside the bathroom. The white door, surrounded by the bland wallpaper, is suddenly disrupted by Lacke’s bloody hand grasping for escape. This visual exhilaration is repeated throughout the film. Oskar is desperately lonely in his hometown, and this palette represents his inner disposition. His life is an never-ending cycle of being bullied, ignored by authority, and extensive moments of solitude. He is consumed by anger, as we can see in the opening scene, where he repeatedly shouts, “Squeal Pig!” as he stabs the air with his pocket knife. The gang of bullies at school verbally and psychically harass Oskar to the point of complete isolation. This pent up aggression isn’t let out until he finds a true friend in Eli. Eli is a symbol, and avenue, for all the violence Oskar sees inside, but can’t let out. When Oskar finally lets out this aggression during his field trip one can see true bliss as he beams and hovers above his victim.
The title, which comes from a song “Let The Right One Slip In” by ex-Smiths’ member Morrissey, has multiple connotations. Besides the apparent vampire meaning, by becoming friends with Eli Oskar has “let the right one in.” The idea that our destinies are determined by who we let into our lives is an overarching theme in this film. The relationship between Eli and Oskar deserves much more than a simple glance.
Before looking at the relationship between these two children it is necessary to uncover what exactly is happening between Eli and her current caretaker, Håkan, at the beginning of the film. They have moved into this town for unknown reasons. A possible guess is that Håkan has had a bad history of mistakes in previous locations, supported by his ongoing errors during the film’s narrative. During the exposition, it is revealed that Håkan murders teenage boys to feed Eli the blood she requires. The fact that he murders these younger boys can either point to a pedophilic desire or this is the particular blood that Eli requests. He cares for her by making sure she isn’t exposed to light during the day, and hidden from society’s eyes. This patriarchal sense of duty is actually not one at all, it is born out of a deep love for Eli. Since Eli has been alive for a few hundred years, it is simple to deduce Håkan started as a young boy, in a similar relationship that exists with Oskar now. The last shot of the film is Oskar escaping on the train with Eli. In a rather poignant statement Oskar will just eventually turn into another Håkan, becoming her next caretaker. As seen by the number of rings Eli has next to her Faberge egg it is presumed she has a number of lovers since her incarnation as a vampire. These lovers have provided her with numerous amounts of expensive gifts to live off. Although her love for Oskar is seemingly authentic, getting a new caretaker is a necessary step for her. Håkan has gotten rusty in his craft, which may be a result of her relationship with Oskar. Håkan even says, “Please don’t see that boy tonight,” yearning for Eli’s love, that has ostensibly been forgotten or replaced. As Håkan gets older and eventually experiences human death, something Eli never can, her relationship with Oscar is necessary.
This connection with Oskar is a peculiar for a number of reasons. Eli repeatedly says “What if I’m not a girl?” to Oskar. When taken lightly this can be seen as being a vampire, but looking at the novel, there is a heavier implication to this phrase. In the film we are shown a few frames of Eli’s genital area, in which we see nothing but a horizontal scar. The novel tells us Eli was originally named Elias, a boy who was castrated over two-hundred years ago and turned into a Vampire. Since vampires are essentially dead, they do not require reproductive or urinary systems, resulting in this area being completely dried up. Although this seems a bit disturbing it is met with the powerful message that love can transcend humanity, even gender. The love between Eli and Oskar is a completely different kind of love. It is not something sexual, as Eli even states they can not be intimate. The final scene we see Oskar tap Morse code on Eli’s box. He spells out p-u-s-s which translates to “small kiss.” This is the fullest physical extent their love can reach, as Oskar, whether he knows it or not, has committed to becoming Eli’s love and caretaker for the remainder of his life.
This film, dealing mostly with adolescence, also has a vital statement on adulthood. The adults in this film, although close to the children, are inherently oblivious to the violence that is going on around them. The adults always have their faces turned away when any trouble arises. They have the ability to help, but don’t because of their blindness. The film is told through Oskar’s eyes and this is how he perceives adults (Alfredson). They congregate together (as seen in a number of diner scenes) to talk, without ever actually doing anything. Oskar’s mother ignores him, especially after he gets beaten up by bullies. She casually accepts his quick explanation that he “fell at recess.” Oskar’s father is an interesting character, presumably homosexual. His “friend” comes over to visit, as we see a quick cut to his feet and he has sandals all. In the freezing winter weather one can suspect he is coming from a very short distance and plans on staying. Once he enters the room, they both seem to ignore Oskar. Alfredson specifically intended for these children to be living in their own world, commenting on society.
Alfredson explores the tender and fragile subject of relationships with a unique vision. After looking in depth at the themes in the film its apparent that we are given much more than the standard romantic drama. Using Lindqvist’s novel as a basis Alfredson has fashioned an astonishing cinematic accomplishment, while presenting a captivating and unique love story.
Sources
Alfredson, Tomas. “Let The Right One In” (Behind the Scenes Feature DVD Extra) EFTI Films, 2009. DVD. Magnolia Home Entertainment
Badt, Karin. “Let the Right One In: New Vampire Film with a “Beat”.” The Huffington Post. 03 Dec 2008. 26 Apr 2009 <http://www.huffingtonpost.com/karin-badt/emlet-the-right-one-inem_b_147966.html>
Ivarsson, Torbjörn. “Allt fler böcker blir film.” DN.se. 08 Aug 2007. Daily News AB. 26 Apr 2009 <http://www.dn.se/kultur-noje/allt-fler-bocker-blir-film-1.600188>.
Jenkins, Mark. “‘Let The Right One In’: Lyrical, If Well-Chewed.” NPR. 23 Oct 2008. 26 Apr 2009 <http://www.npr.org/templates/story/story.php?storyId=95985786>.
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