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A Boy and His Ghoulfriend: Beyond the Genre

Eli (Lina Leandersson) is a vampire who befriends a tortured 12-year-old in the haunting Swedish film "Let the Right One In."
Eli (Lina Leandersson) is a vampire who befriends a tortured 12-year-old in the haunting Swedish film "Let the Right One In." (Magnet Releasing)

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By John Anderson
Special to The Washington Post
Friday, November 7, 2008

"I never had any friends later on like the ones I had when I was 12. Jesus, does anyone ?"

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-- "Stand by Me," 1986

Movies about kids have usually concerned either the littlest among us or those working out their differences with adulthood. But the new Swedish drama "Let the Right One In" -- which shares with "Stand by Me" an appreciation of the 12-year-old state of mind -- lurks in a cold, dark, brooding territory, inhabited by people both haunting and terrified: tweens.

The primary one here is Oskar (Kare Hedebrant), the pink-skinned, white-blond child of a single mother, a loner and a target, whose days include having his pants stuffed into a gym urinal or having a cane lashed across his milky cheek -- all by his personal, and very devoted, trio of schoolyard bullies.

The other is Eli (Lina Leandersson), the dark-eyed waif who moves into Oskar's apartment block, goes barefoot in the snow and gives Oskar something to live for -- even though she is technically dead. Or, rather, undead.

Yep: Eli is a vampire, and "Let the Right One In" (probably the most uninviting title of a film this year) is, in the basest of terms, a horror flick. But it's also a spectacularly moving and elegant movie, and to dismiss it into genre-hood -- to mentally stuff it into the horror pigeonhole -- is to overlook what is at this point the best film of the year. Two of the sadder things about "Let the Right One In" are that it's being distributed as part of a genre series and that it's going to be remade for the U.S. market.

No offense, but it seems unlikely that the American adaptation won't be something like an all-harmonica version of Beethoven's Ninth.

From the cool blue cinematography of Hoyte van Hoytema to the intelligence and subtlety of the script by John Ajvide Lindqvist (adapted from his novel), "Let the Right One In" executes all the right moves technically, and another director might be able to emulate that. Capturing its considerable soul is another thing.

Start with Oskar: Almost an angelic cliche, he is smarter, prettier and lonelier than anyone in his school, so he naturally attracts abuse from the bullies; his mother has no clue about his plight. We see him, knife in hand, fantasizing about revenge on his tormenters, repeating the same baiting words they use on him and stabbing his blade into a tree. Behind him, he discovers, Eli is watching, a dark-eyed, black-haired, sallow-looking girl, who immediately informs Oskar that they can't be friends; rigorous honesty, it seems, is the hallmark of the preadolescent ghoul (she must be invited into Oskar's room, for instance, hence the title). Oskar is desperate enough to settle for close acquaintance. And Eli, as it develops, needs an ally.

The horror aspects of "Let the Right One In" toy with the audience's existing vampire knowledge -- specifically, the survivor guilt inherent in the immortal bloodsuckers of modern ghoul lit. Eli doesn't want to put the bite on anyone. For that, she has Hakan (Per Ragnar), who is old enough to be her grandfather and who seems to be at the end of his usefulness: When he sets out to collect blood for Eli -- his MO is to anesthetize a victim, string him upside down, slash his throat and drain him into a plastic gasoline jug -- he picks a too-conspicuous spot and is interrupted by dog walkers. Eli has to kill a local, though it grieves her to do it, and the murder becomes front-page news. At that point, it seems only a matter of time before she's driven from yet another town.


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