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Let the Right One In
Let the Right One In
Reżyseria:
Tomas AlfredsonScenariusz:
John Ajvide LindqvistZdjęcia:
Hoyte van HoytemaMuzyka:
Johan SöderqvistObsada:
Kåre Hedebrant, Lina Leandersson, Per Ragnar, Henrik Dahl, Karin Bergquist, Ika Nord, Tom Ljungman, Mikael Rahm, Peter Carlberg, Malin Cederblad (więcej)Opisy(1)
12-letni Oskar jest wrażliwym, nieco bojaźliwym chłopcem, prześladowanym przez silniejszych kolegów z klasy. Jego rówieśniczka -blada i zawsze poważna Eli wychodzi z domu tylko w nocy. Spotykają się na blokowym podwórku szwedzkiego osiedla gdzieś na peryferiach miasta. Wraz z pojawieniem się dziewczynki, w okolicy zaczynają się dziać przerażające i trudne do wytłumaczenia rzeczy. Wspólnym mianownikiem tych zdarzeń jest krew. Zamkniętego w sobie chłopca, wydaje się to fascynować. Potrwa to dopóki Oskar nie odkryje, że Eli jest... wampirem. (Vivarto)
(więcej)Recenzje (6)
Placing a vampire theme in the realistic environment of a cold Scandinavian housing estate is original and promising. However, when the script ignores the logical rules of this reality (the absence of any response to the portrayed events – no investigation, no intervention by social services), the initial enthusiasm gives way to frustration from being bullshitted. And finding poetics in a “pure relationship based on the shared loneliness” of two twelve-year-olds, one amusing himself by plunging a knife into a tree and the other by sucking blood from passing adults, is beyond my emotional horizons. In the end, the only excellent thing here is the integration of visual effects (jumping from the bench, climbing on a hospital wall) into reality.
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A very strong and sad film. It’s not so much horror as chilling drama, but either way, I truly savoured this slice of Scandinavian atmosphere. I didn’t even mind the kids in the lead roles, and that’s saying something.
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Alfredson sometimes causes problems for himself by showing too much from the vampire world. Those few explicit moments, however, are definitely offset by a precisely constructed romance, in which the coldness of the Nordic winter alternates with fervent childish naivety and vampire brutality with loving tenderness. This is all without theatricality, chiseled idiots with sexy waves and braying girls in puberty. The Swedish filmmaker conceived vampirism as part of the sociological problem of alienation and the latent brutality of adolescents, and his film captivates with both brilliantly economical expression and great actors. As a long-time fan of vampire films, I rank Let the Right One In among the best genre works in recent years – it is a fairytale, but in a sense a horribly authentic fairytale.
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And in the cold, dull Swedish small town, you can successfully drink blood. The new arrival attracts attention not only from Oskar but also from me, and when it comes down to it, Tomas Alfredson knows how to take hold of the atmosphere and surprise. Nevertheless, I remain greatly disappointed in this cautious vampire romance. It can only captivate in scenes with Oskar or Eli, and all the actions of the supporting characters happen inadvertently and consequently come across as meaningless fillers, whether it's frightened talk about strange events or routine attempts to suggest the vampire foundation. Immediately positive impressions are thus saved, despite several embarrassingly mishandled moments (cat attack), only by the phenomenal ending, without exaggeration, one of the most hypnotic scenes I've ever seen. Otherwise, however, this adaptation is cold exactly as the omnipresent snow promises.
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The vampire tale, while preserving all the characteristics attributed to this genre and the rituals by which their existence is governed, is dramatically different from the overwhelming majority of films with similar content. It's not strictly a horror film, certainly not the kind filled with action and digital effects that have dominated in recent years; rather, it's more of an attempt at a modern interpretation by transferring romantic notions from Gothic novels to the gritty setting of contemporary panel housing estates. It's not a film that induces fear, but rather unease. What must be appreciated is the cinematography, where the camera plays with reflections of light and captures the grime of the periphery, the excellent acting performances, and the sensitive direction. However, what doesn't sit well with me is the screenplay, which fails to create a truly believable version of a world inhabited by supernatural beings. After all, it's not the mid-19th century anymore when Slovakian mountains or even Transylvania were distant exotic lands suitable for the most fantastic stories with a hint of mystery. Some films and series manage to cope better with today's technical and information-rich world and place their heroes in a more functional environment, such as True Blood or Interview with the Vampire. Additionally, there's an issue of, let's say, an ethical nature. Am I really supposed to cheer for a multiple murderer and the tender feelings and budding sexuality of two children on the brink of puberty? It's like watching a film about a serial killer who falls in love and is aided by his partner. Overall impression: 65%.
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The purest, brightest, and most extreme counterpart to the metrosexual circus known as Twilight. Proof that you can relate to characters not just because of their slicked-back hair, fake appearance, and "unforced" and "real" love problems. A gritty fable thematizing a strong friendship between two kids (brilliant actors to boot), set overwhelmingly in a snowy Swedish housing estate – a stripped down, properly raw environment. A magnificent bit of Swedish cheek.
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