LET ME IN (includes trailer)
November 2nd 2010 13:27
I was quite reluctant to see Let Me In, but eventually I relented. Based on the book by John Ajvide Lindqvist, and more notably a remake of the Swedish masterpiece, Let The Right One In, which told the exact same story three years before this. I have now reviewed Let The Right One In, and I found it to be a film of profound emotional beauty despite it's subject matter being about a vampire, both Let The Right One In and Let Me In (the book and the film) is essentially a love story of the most tender but grizzly sort, sure, there is a good dose of blood letting and darkness that fills your senses, but the spectrum of subtlety, delicate emotions and atmospheric power that the original explores is staggering, so for the Cloverfield director Matt Reeves to attempt an American remake, he has a lot stacked against him.
Perhaps this would not have been the case if Let Me In hadn't been remade so soon after the original film's release, but I did my best to go in with an objective eye. It had been a good amount of time since I had seen the original and I tried my best to forget the details of Let The Right One In so I could view Let Me In with an unbiased opinion. Surprisingly enough, Let Me In serves to only increase my admiration for the Swedish original. Let Me In has a lot going for it, it has a very respectable collection of excellent scenes in it. It brings a new eye to the novel which both film's are based on, highlighting some interesting nuances, it's atmosphere and cinematography by Greig Fraser is perhaps just as absorbing as the original and it attempts to adapt the film on an even grander scale, but after everything is said and done, there's something clearly forgettable about Let Me In. I would say that the missing ingredient is the subtlety and organic patience of the original. Let Me In goes for one climax after the next and as mesmerising as it often is at times, it's clear which of the two films are superior.
Let Me In begins with a man being rushed to hospital with acid burns sizzling through his face. Upon being hospitalised, a police detective begins questioning him over some recent murders which are believed to be the work of satanic rituals. The opening scenes are shot in a muddy and claustrophobic way, in forced close ups before they even seem appropriate for the occasion. The film attempts to lead us astray with this oblique opening, posing a premise that misdirects the audience. Let Me In's main character is a 12 year old boy named Owen, a pale and androgynous looking child who's doughy and dejected, sad face is the result of him living in a house hold with a divorce in progress and regularly being beaten up by a malicious bully. The film creates a very cold world for him - cold in tone, cold in emotion and even colder in climate. Owen meets Abby, a 12 year old girl, who only ever appears to him at night time, it's clear that they both experience this similarly chilly burden of existence.
Let Me In creeps us in to this frost bitten world, where this young boy and girl share a bond of very innocent, tender affection for each other, but Owen discovers that Abby isn't a girl, in fact Abby isn't even human - she's a vampire. Abby's lust for blood may grow, but even this creature of the night longs for the presence of a living body, one that can guide her through this world and this friendship makes for a dark and ominous one.
The biggest note of difference in Let Me In is it's obviousness, the obviousness of it's themes, which as a result are large on the surface but never run further than the length of the scene which explores it. The obviousness of the relationship between Abby and Owen which is effecting and emotionally resonant but is considerably simplified in comparison to the original film and I'm sure the book too. Many of the scenes feel too short and punchy and it's clear that in Let Me In's attempt to retell the story in a fresh way, all the obligatory scenes that are essential to the narrative feel hollow and pointless as they remain caught in the shadow of the original. Amazingly enough Let Me In does manage to successfully stand on it's own to a degree thanks to 3 exceptionally crafted scenes and a powerful visual take on the material.
One of the fresh aspects that Let Me In brings to the table is in it's portrayal of Owen (played by The Road's Kodi Smit-McPhee) who's sexual curiosity begins to grow as we see him peer into the adult world through his window. The scenes where he is bullied also seem darker than the Swedish original, with a clear allegory in place for how powerless Owen seems in these scenes creates allusion to rape. Kenny, who is the bully that torments Owen is played by Dylan Minnette, refers to Owen as 'girl', mocking him. Chloe Moretz (Kick Ass, 500 Days Of Summer) who plays Abbey gives an interesting performance and does well in toning down her regular attitude for this role and it's how she portrays her character that highlights the biggest difference between the two films.
I'm inclined to think that Let Me In tried too hard to capture a new angle of darkness, it's desire for impact is probably it's biggest flaw, but it's still an impressive film in it's own right just as it is a flawed one (the use of computer graphics for when Abbey loses control and submits to her blood cravings particularly stick out in the worst kind of way). Let Me In still achieves it's aim admirably, there's a real unique sense of visual style to the film and it's mood is it's strongest quality. The fact remains that Reeves, who is indeed a fine director, is working from the exact same storyline as the original. He's been given a lot to work with and quality is the result. I take my hat off to him for a solid attempt and outcome, it's impressive how much of the emotional resonance Reeves brings to this story and the young cast of mostly child actors are fantastic, but unfortunately at the same time, the biggest thing that Let Me In highlights is the sheer pointlessness of remaking a film as good as Let the Right One In, particularly so soon after it was actually released.
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Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
Giacchino's score actually sounded much more effective this time around too, with a few subtle echoes of Morricone's The Thing in a two-note throbbing motif that he uses a few times.
Comment by ShaunK
Screen Adventure
Comment by Matt Shea
I think you hit upon a really interesting dilemma with these US remakes: they need to act quickly to cash in on the popularity of the original, but the decreasing gap between release dates means the two will be compared and contrasted even more closely.
Great write-up, as always.
Comment by JohnDoe
Film & TV on DVD