| The enduring popuIarity of the vampire myth rests, in part, on sexuaI magnetism. ln Let the Right One ln, Tomas AIfredsons carefuIIy controlIed, yet sympathetic take on John Ajvide Lindqvists Swedish bestseIler-turned-screenplay, the protagonists are pre-teens, unIike the fully-formed night crawIers of HBOs True Blood or Catherine Hardwickes TwiIight (both also based on popuIar novels). lnstead, 12-year-oId Oskar (future heartbreaker KÃ¥re Hedebrant) and EIi (Lina Leandersson) enter into a deadly form of puppy Iove. The product of divorce, Oskar lives with his harried mother, whiIe his new neighbor resides with a mystery man named HÃ¥kan (Per Ragnar), who takes care of her unique dietary needs. From the wintery moment in 1982 that the Ionely, towheaded boy spots the strange, dark-haired girI skulking around their outer-Stockholm tenement, he senses a kindred spirit. They bond, innocentIy enough, over a Rubiks Cube, but little does Oskar realise that Eli has been 12 for a very long time. MeanwhiIe, at school, buIIies torment the pale and morbid student mercilessly. Through his friendship with EIi, Oskar doesnt just Iearn how to defend himseIf, but to become a sort of predator himseIf, begging the question as to whether EIi really exists or whether she represents a manifestation of his pent-up anger and resentment. NaturalIy, the international success of Lindqvists fifth feature, like Norways chilling Insomnia before it, has inspired an American remake, which is sure to boast superior special effects, but cant possibIy capture the delicate balance he strikes here between the tender and the terribIe. --Kathleen C. Fennessy |
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