Let the right one in, let the old dreams die...

I saw this film over a week ago, and decided to sit on my thoughts until I finished reading the book so that I could review them simultaneously. I finished the book a couple days later, so it has been nothing but sheer laziness making me put this off until now. 'Tis the season and all that rot...


Let The Right On In (Låt den rätte komma in) was written by Swedish author John AjvideLindqvist and released in 2004. He later adapted the novel into a screenplay, which was filmed by director Tomas Alfredson earlier this year. I was afraid that the film would not be released anywhere nearby, so I decided to go ahead and read the book; of course we did get it as I reached the halfway point in my reading. I normally would have waited until I finished the novel before seeing the film (as I am a fast reader), but I did not want to chance it being gone after only one week.

There are only minor differences between the novel and film, both of which are wonderfully dark yet accessible and sometimes sweet at the same time. Since they are so intertwined in my mind, I have decided to discuss them as one entity.

Oskar is a twelve-year-old introvert and the constant victim of the local bully and his gang. Feeling that no one will help him, he embraces a dark and violent place inside himself in order to cope with his shame, going out almost nightly to exorcise his issues in solitude. He is observed by an unusual girl named Eli, who assures him from the beginning that she cannot be his friend and is not what she seems. A bond is slowly formed however, as they come to realize that although they hail from completely different worlds, they walk disturbingly similar paths.

The largest difference between the two is that obviously there is more room to let characters and events unfold on the written page than the silver screen. There is only one major plot line absent in the film, but it is not necessary to the overall story and is not really missed onscreen. Some of the characters and arcs are more detailed in the book, and I almost feel that I was fortunate to have read only half the book beforehand. I had just enough back-story to project extra layers on the film, but not so much as to take the magic from the journey. If I am forced to pick I am almost always going to go with the book, but the film easily stands on its own as one of the best horror film of the past decade (if not the best).

Oskar and Eli's relationship is possible only because children have a stronger capacity to accept what is in front of them than adults. Had Oskar been eighteen, this would have been a completely different story, and considering Eli's nature, likely much shorter. Their relationship grows both because and in spite of who they are; Oskar and Eli are both alone and desperate for someone to understand them and share the darkness. It is easy to lose yourself in the sweetness of their awkwardness, and that is one of the major strengths of the story: you let your guard down, and are not prepared for the gruesomeness as it ensues.

The novel deals with several uncomfortable themes, but does so in as elegant and respectful of a manner as possible. There are some truly terrible things transpiring on the page, but they are necessary to properly tell this tale. Some of these issues are visible on the silver screen, but the worst of them is only hinted at. So, a word of warning: this book is not for the faint of heart. There is also an element that is touched upon several times in the book that I was pleased to see did not make it into the film; it serves the book well, but would have weakened the wonderful narrative of the film.

As per usual, I have tried to talk around the story rather than about the story during my review. I hate it when critics give play-by-play instead of considering what they have witnessed and relating insightful commentary, and would not dream of ruining a single moment of your enjoyment of this or any work of art. Like I said before, the novel and the film are pretty much a single organism in my head at this point, and will therefore receive only one rating. I highly recommend catching this film if possible before the unnecessary American remake, and insist that you read the book (before or afterward is up to you). I am declaring Let The Right One In to be among the best experiences of the year with a satisfying 4.75 out of 5.

Here is the cover to the Swedish edition of the book, showing once again how American book covers tend to be absolute crap in comparison to their international counterparts.