Let the Right At (Swedish: LÃÆ'  ¥ t den rÃÆ'¤tte komma at ) is a 2008 romantic romance horror film directed by Tomas Alfredson, based on a 2004 novel of the same title by John Ajvide Lindqvist, who also wrote the screenplay. The film tells the story of a 12-year-old boy who had a friendly relationship with a vampire boy in Blackeberg, a suburb of Stockholm, in the early 1980s. Alfredson, unconcerned with horror and vampire conventions, decided to derive many novel elements and focus primarily on the relationship between the two main characters. Choosing the main actors involves a year-long process with open casting held throughout Sweden. In the end, 11-year-old KÃÆ'  ¥ re Hedebrant and Lina Leandersson were selected for the lead role. They were then praised by Alfredson and the film reviewers for their performances.
The film received critical acclaim and won several awards, including the "Founders Award for Best Narrative Feature" at the 2008 Tribeca Film Festival and the European Fantasy Movie Fantasy Federation 2008 MÃÆ'Ã… © liÃÆ'¨s d'Or (Golden MÃÆ'Â © liÃÆ'¨s) for "Europe's Best Fantastic Feature Film", as well as four Guldbagge Awards from the Swedish Film Institute and Saturn Award for Best International Film.
Video Let the Right One In (film)
Plot
Oskar, a gentle 12-year-old boy, lived with his mother Yvonne in Stockholm's western suburb of Blackeberg in 1981 and occasionally visited his father, Erik, in the countryside. During a visit to his father, when Oskar and Erik were enjoying a comfortable night game, a drunken neighbor arrived, and Erik began drinking with him, breaking up father/daughter nights.
Oskar's classmates often oppress him, and he spends the night imagining revenge, collecting clippings from newspapers and magazines about horrible murder. One night he meets Eli, who looks like a pale girl at her age. Eli recently moved into the next apartment with an older man, HÃÆ'  kan. Eli initially told Oskar that they could not be friends. However, over time, they began to form close relationships, with Oskar lending her Rubik's Cube to Eli, and the two exchanged Morse code messages through adjacent walls. HÃÆ'  ¥ it asks Eli to stop seeing Oskar. After questioning Oskar about the wound on his cheek, Eli finds out that the boy is being bullied by a schoolmate and encourages him to defend himself. This inspired Oskar to enroll in a load-training class after school.
Earlier, HÃÆ'n kan stopped and killed a pedestrian on a busy walkway near the main road to take fresh blood for Eli, but he failed to return with anything when he was distracted by an approaching dog. Eli was asked to stop and kill a local man, Jocke, walking home from a bar after saying good night to his best friend, Lacke. A cat-loving ascetic, GÃÆ'¶sta, witnessed an attack from his flat. He did not believe what he saw and decided not to report the incident. HÃÆ'  ¥ it hides Jocke's body in an ice hole in the local lake. HÃÆ'  ¥ kan then made another well-prepared but incompetent attempt to get blood for Eli by trapping a teenage boy in the locker room after school. The boys' friends were waiting for him to show up, and went to see what held him back. Before he was found, HÃÆ' ¥ poured the concentrated hydrochloric acid into his own face, tainting him to prevent the authorities from identifying him and tracking Eli. Eli learned that HÃÆ' Â¥ had been taken to the hospital and scaled the building to access his limited space. HÃÆ'  ¥ kan open the window for Eli and offer her neck to him to eat; after he eats, HÃÆ'  kan falls from the window into the snow and dies. Now alone, Eli goes to Oskar's apartment and spends the night with him, during which time they agree to "survive". While Eli states, "I am not a girl", Oskar (ambiguous) ignores this or accepts the nature of the uncertain relationship.
During an ice skating field trip on the lake, several Oskar colleagues found the body of Jocke. At the same time, Oskar finally stood up for his tormentor and attacked the bully leader, Conny, on the side of the head with a pole, splitting his ears. Some time later, Oskar shows Eli a private place that he knows. Unaware that Eli is a vampire, Oskar indicates that they formed a blood bond, and cut off his hand, asking Eli to do the same. Eli, bloodthirsty but did not want to hurt Oskar, spewed up his spilled blood before fleeing. Boyfriend Lacke, Virginia, then attacked by Eli. Lacke showed up in time to stop the attack. Virginia survived, but soon discovered that he became very sensitive to sunlight. Looking for Lacke, Virginia visits GÃÆ'¶sta, only to be strenuously attacked by the GÃÆ'¶sta cat. At the hospital, Virginia, who had realized what had happened, asked regularly to open the curtains in her room. When the sun comes in, he burns.
When realizing the true nature of Eli, Oskar confronts Eli, who claims to be a vampire. Oskar was initially angered by Eli's need to kill people for his survival. However, Eli insists that their bloodthirsty nature resembles, in which case Oskar wants to kill and Eli needs to kill, and encourages Oskar to "be me, for a while."
Lacke, who lost everything because of Eli, tracked Eli down to the enclosed apartment. Break through, he finds Eli asleep in the tub. He prepares to kill him, but Oskar, who is hiding in the apartment, interferes; Eli wakes up immediately, jumps to Lacke and kills him, feeding on his blood. Eli thanked Oskar and kissed him with gratitude. However, neighbors upstairs angrily knocked at the ceiling due to the disruption caused by the fight. Eli realized that it was no longer safe to stay and go the same night.
The next morning, Oskar received a phone call from Conny's friend, Martin, who lured Oskar out to continue his fitness program after school at the local swimming pool. The bully, led by Conny and his sadistic brother, Jimmy, lit a fire to draw Master ÃÆ'vila, the teacher on duty, outside, and into the pool area, ordering the other children to go out. This makes Oskar trapped alone in the pool. Jimmy forces Oskar under water, threatening to pierce his eyes if he does not hold his breath for three minutes. While Oskar is being held under water, Eli arrives and rescues him by killing and mutilating the bullies, except the most reluctant of their number, Andreas, who is left sobbing on the bench.
Then, Oskar traveled by Eli's train in the box next to him, safe from the sun. From the inside, Eli tapped the word "kiss" to Oskar in Morse code, which he tapped back " cat " (a little kiss in Swedish).
Maps Let the Right One In (film)
Cast
Production
Development
The film project began in late 2004 when John Nordling, a producer at the EFTI production company, contacted publisher Ajvide Lindqvist, Ordfront to get the rights to the film adaptation of his novel, Let It Really Be In : "In Ordfront they are only laughed when I called, I was like the 48th they put on the list, but I called John Ajvide Lindqvist and it turned out we had the same idea about what movie we should make.This is not about money, but about the right constellation. " A friend introduced Tomas Alfredson to the novel. Although he usually does not like receiving books, because "it's a personal thing to choose what to read" he decided after a few weeks to read it. The portrayal of bullying in this novel greatly influenced Alfredson. "It's very difficult and very down to earth, not sentimental (...) I had some periods when I grew up when I had a hard time at school (...) So it really rocked me," he told Los Angeles Times . Ajvide Lindqvist had known Alfredson's work before, and he and Alfredson found that they "understood each other very well".
In addition to EFTI, co-producers include Sveriges Television and the regional production center of Filmpool Nord. Production involves a total budget of approximately 29 million SEK, including support from the Swedish Film Institute and Nordisk Film- & amp; TV Fond and WAG.
Scenario
Lindqvist insisted on writing the script itself. Alfredson, who does not know the genre of vampires and horror, initially expressed skepticism by having the original author do the adaptation, but finding the final result is very satisfying. Many minor characters and events from the book are removed, and the focus is directed primarily on the love story between the two directions. Specifically, many aspects of the HÃÆ'n kan character, including him being pedophile, softened, and his relationship with Eli mostly left open for interpretation. Alfredson feels that the film can not handle a serious theme like pedophilia in a satisfactory way, and that this element will reduce the story of children and their relationship. However, the film provides some clues, where Alfredson mentions one in the director's comments (HÃÆ'  ¥ like children, for the wrong reasons).
A key part in the novel details of what happens when a vampire enters the room uninvited, an act normally perceived by traditional vampires. Alfredson originally wanted to eliminate this from the film, but Ajvide Lindqvist insisted that it should be included. Alfredson was initially nervous about the scene. He realized in post-production that sound effects and music made him "America, in a bad way", and had to be removed for the scene to work. The end result, which showed Eli slowly began to draw blood from his eyes, ears, and pores, received positive notices from many critics. Peter Bradshaw of The Guardian described it as "rejection hemophilia".
This novel presents Eli as an androgynous boy, castrated centuries before by sadistic vampire nobles. The film tackles Eli's gender issue more ambiguously: a brief scene in which Eli turns into a dress offering a fleeting suggestive scar but no explicit elaboration. When Oskar asks Eli to be his girlfriend, Eli tries to tell Oskar "I'm not a girl". An actress plays Eli's character, but her voice is considered too high, so she is nicknamed by the voice actress Elif Ceylan. According to an interview with the director, when the film was originally understood, the flashback explains this aspect in more detail, but the scene is finally cut off. Ultimately, Ajvide Lindqvist was satisfied with his adaptation. When Alfredson showed him eight minutes of recording for the first time, he "started crying because it was so pretty". He later described the film as "masterpiece". "It does not really matter that [Alfredson] does not want to do it the way I want it in every way, he certainly never does that, it's a creative process," he said.
Casting and filming
Casting the main actors takes almost a year, with open casting being held throughout Sweden. KÃÆ'  ¥ re Hedebrant, was chosen to audition for the role as Oskar after the initial screening at his school, finally getting the role. Lina Leandersson responded to an online ad looking for a "good-to-run" 12-year-old boy. After three more auditions, she was chosen to play Eli.
Alfredson describes the casting process as the most difficult part of making the film. He has a particular concern about the interaction between the two guidelines, and the fact that those who have read the book will have a preconceived idea of ​​how the character should look. He wants the actors to look innocent, and can interact in front of the camera. They are supposed to be "mirror images of each other." He is everything not, dark, strong, brave, and a girl (...)) Like two sides of the same coin. " On another occasion, Alfredson stated that "[c] asting is 70 percent of work, it's not about choosing the right person to make a role, it's about creating chords, how B and A minor interact together, and played together." Finally, Alfredson expressed his satisfaction with the results, and often praised Hedebrant and Leandersson for being "very smart", "very wise", and "unprecedented fantastic."
Although the film takes place in Blackeberg, a suburb of Stockholm, major photography takes place in LuleÃÆ'§ (in northern Sweden) to ensure enough snow and cold weather. The area where the shoot took place dates from about the same time as Blackeberg, and has a similar architecture. However, Alfredson shot some scenes in the Blackeberg area. Specifically, the scene in which Eli jumped into Virginia from a tree, shot in the Blackeberg town square. Another scene, in which Eli attacked Jocke in an underpass, was shot in the nearest suburb of RÃÆ'  ¥ cksta. The original Blackeberg underpass imagined by Lindqvist is considered too high to fit in the picture. Some outdoor close-up scenes are made in super cool studios. The jungle gym where much of the interaction between Oskar and Eli takes place built specifically for the film. The design is meant to fit the CinemaScope format better than a regular jungle gym, which usually has to be cut high-wise.
Most of the shoots use a single Arri 535B camera, anyway, with hardly any use of handhelds, and some pieces. Tracking shots depends on the tracked dolly, instead of Steadicam, to create a quiet and predictable camera movement. The crew paid special attention to the lighting. Cinematographer Hoyte van Hoytema and director Alfredson invented a technique they call "spray light". In an interview, van Hoytema describes it as follows: "If you can catch a dull electric light in a can and spray it like a hairspray in Eli's apartment, it will have the same results as what we make". For the emotional scenes between Oskar and Eli, van Hoytema consistently spread the lighting.
Postproduction
This film contains about fifty photos with computer-generated imagery. Alfredson wanted to make it very smooth and almost invisible. The order in which some cats attack Virginia, one of the most complicated scenes to film, takes weeks of drafting and planning. The crew uses a combination of native cat, cat doll, and computer-generated imagery.
This film features analog sound effects exclusively throughout. The main sound designer Per SundstrÃÆ' explainedm explains: "The key to good sound effects works with natural and tangible sounds. (...) These analog sounds can be reworked digitally as much as necessary, but the origin must be natural." SundstrÃÆ' designedm designed the soundscape to be as close as possible to the actors, with heartbeat, breathing, and swallowing. The end in production was also decided to overdub voice actress Lina Leandersson with the less feminine, to underline the backstory. "He's 200 years old, not twelve, we need that incongruity, and it makes him threaten," Sundstrem said. Both men and women up to the age of forty auditioned for the role. After the vote, the film team finally chose Elif Ceylan, who provided all of Eli's spoken dialogue. Ceylan melon or sausage snippets combined with various animal sounds to mimic the sound of Eli biting his victims and drinking their blood. The sound crew won the Guldbagge Award for Best Achievement from the Swedish Film Institute, for "very bad sound" in the film.
Soundtrack
Swedish Composer Johan SÃÆ'¶derqvist wrote the score. Alfredson instructed him to write something that sounded hopeful and romantic, unlike the events that took place in the film. SÃÆ'¶derqvist has described the results as consisting of darkness and light, and emphasizes melody and harmony as the most important qualities of music. The Slovakian National Symphony Orchestra displays the score; two years earlier they had scored for the first Swedish vampire film, Frostbiten . On November 11, 2008, MovieScore Media released a movie soundtrack in a limited edition of 500 copies. It contains 21 original SÃÆ'¶derqvist scores from the film. It ranks fourth on Is not It Cool News' Top 10 Best Scores Of 2008 List, which is portrayed as "carefully weaving together a chill-stirring horror of horror with warmth encompassing newly acquired love". If the magazine describes the score as "the most beautiful emotional value that does not yet exist to grant the undead, it is a melancholy feeling that gently scares her with a delicate orchestra".
The song "Kvar i min bil", written and performed by Per Gessle, resonates repeatedly through the film. Originally overtaking from Gessle's En hÃÆ'¤ndig man solo album, the song was specifically reserved for the movie, resembling the popular 1980s pop group Gyllene Tider's sound. Gessle has described the song as "a bluesy song with a good guitar hook". Other songs in the film include "FÃÆ'¶rsonade" from 1968, written and performed by future ABBA members Agnetha FÃÆ'¤ltskog, "Flash in the Night" from 1981, written by Tim Norell and BjÃÆ'¶rn HÃÆ'  ¥ kansson and performed by the Secret Service, and "Dags ÃÆ'  ¥ vÃÆ'¤lja sida" by Peps Blodsband.
Release
Let The Right In premiere at the Gothenburg Film Festival in Sweden on January 26, 2008 in which Alfredson won the Nordic Film Festival Award. It was later screened at several other film festivals, including the Tribeca Film Festival in New York City (24 April 2008), where he won the Founder Award for Best Narrative Features; Edinburgh Film Festival (June 25, 2008), where he won the Rotten Tomatoes Critical Consensus Award; and the NeuchÃÆ' Â ¢ tel International Fantastic Film Festival in Switzerland (July 3, 2008), where he won the MÃÆ'Â © liÃÆ'¨s d'Argent (Silver MÃÆ'Â © liÃÆ'¨s).
The Swedish premiere was originally planned for April 18, 2008, but after a positive response from the festival screening, the producers decided to postpone the release until the fall, to allow for more theatrical drama. At one time there was a plan to release the film for a series of special screenings in LuleÃÆ' ¥, starting September 24th and lasting for seven days. This was canceled when the Swedish Film Institute announced that the Eternal Moments had been chosen over Let's Be True In as Sweden's submission to the Academy Award for Best Foreign Language Film. Distributors released it on October 24, 2008 in Sweden, Norway, and as a limited release in the United States. In Australia, the film was released on March 19, 2009. The film was released in cinemas in the UK on April 10, 2009.
The film was released in North America on DVD and Blu-ray in March 2009 by Magnet Films, and in the UK in August by Momentum Pictures. American discs display original Swedish and English translations, while European versions only feature Swedish songs and audio-descriptive in English. Icons of Fright reports that the American release has been criticized for using a simplified new English subtitle instead of the original theatrical text. After customer complaints, Magnet states that they will release the latest version with the original theatrical subtitle, but will not swap the current disk. Director Alfredson also expressed his dissatisfaction with the DVD subtitles, calling it a "turkey translation". "If you look on the internet, people are angry about how bad it is done," he added. The UK release retains theatrical subtitles.
Critical reception
Let The Right At get widespread critical recognition. The film has a 98% "Fresh Certified" rating at Rotten Tomatoes based on 175 reviews, with an average rating of 8.3 out of 10. The critical consensus reads, " Let's Be True In revive seems to be a tired vampire genre by effectively mixing the fear with intelligent storytelling ". In addition, Metacritic has reported an average score of 82 out of 100 based on 30 reviews showing "universal recognition".
Swedish critics generally expressed a positive reaction to the film. In the 26 reviews listed on the Swedish-language review website, Kritiker.se, reached an average rating of 4.1 out of 5. Svenska Dagbladet rated this movie 5th out of 6 and praised Alfredson for his ability. to "tell [stories] through pictures, not words about a society where the heart turns to ice and everyone is left alone, but also about warm and red love like blood on melting snow." GÃÆ'¶ran Everdahl for SVT Gomorron Sverige gave the film 4 out of 5 and described the film as "kitchen sink fantasy" which "gives the vampire story back something that has been lost for a long time: the ability to actually scare us ". Expressen and GÃÆ'¶teborgs-Posten were less impressed and gave the film 3 of 5. Expressen criticized it for not appealing to those who did not know in the movie vampires while GÃÆ'¶teborgs-Posten believes that the supporting characters have lost the emotional depth that makes the novel so successful.
The reviewers have commented on the beautiful cinematography and quiet and controlled approach to the sometimes bloody and violent subject matter. KJ Doughton from Threat Thinking that visuals in his endings are fresh and inventive and will be discussed for years to come. Roger Ebert gave 3.5 stars out of 4 stars, calling it a vampire movie that took vampires seriously, drawing comparisons with Nosferatu and to Nosferatu the Vampyre . He describes it as a story of "two lonely and desperate children who are capable of dark deeds without clear emotion," and praised the actors for "strong" performances in a "draining" role. Ebert later called the movie "The best modern vampire movie". One negative review came from Owen Gleiberman of Entertainment Weekly, who gave the movie "C", characterizing it as a "Swedish scratchhead", with "some creepy images but very few holding them together." ".
Bloody Disgusting ranked first movie in the 'Top 20 Horror Film of the Decade' list, with the article saying "It's quite rare for a horror movie to be good, even rarer is that it works as a genuine artwork. Let the Right One In > is one of those films - a very beautiful creation that reveals itself slowly, like the best artwork. "The film is ranked # 15 on Empire's 2010 list of Best Movie The 100 Movies World". In their thinking, the authors noted that, "in these days where every second movie seems to feature vampires, it takes a very special twist on the legend to surprise us - but this one gets us knocked out and then bites us in jugularis" and found that the "strange central friendship" between the two main characters made the film "so scary, and so magnetic." In early 2010, Time Out conducted a poll with writers, directors, actors and critics who had worked in the horror genre to vote for their top horror film; Let The Right One be placed at number 28 on their top 100 list. The film was later voted the 94th largest film since 2000 in an international criticism poll conducted by the BBC.
Awards and nominations
Alfredson won the Nordic Film Nordic Film Award as a director Let Just Be on the Top on the grounds that he "managed to turn the vampire movie into a truly original, touching, entertaining and heartwarming story about friendship and marginalization." Let The Right In was nominated in five categories for the Swedish Guldbagge Award Film Institute 2008, finally winning for best directing, screenplay and cinematography as well as the Best Achievement Award for production designer Eva NorÃÆ' nà © n. In awarding the film "Founders Award for Best Narrative Feature", the highest award at the Tribeca Film Festival, the jury described the film as "a stunning exploration of loneliness and alienation through an amazing review of the vampire myth". The film also won the MÃÆ'Ã… © liÃÆ'¨s d'Argent (Silver MÃÆ' © liÃÆ'¨s) in Switzerland's NeuchÃÆ'  ¢ tel International Fantastic Film Festival (NIFFF) and went on to win the MÃÆ' © liÃÆ'¨s d'Or (Gold MÃÆ'  © liÃÆ'¨s) for "The Best European Fantastic Feature Film", awarded by the European Fantasy Movie Federation whose NIFFF is a part. Other awards include the Rotten Tomatoes Critical Consensus Award at the Edinburgh Film Festival.
Despite being a successful international film, Let the Right In not be submitted by Sweden to the Academy Award for Best Foreign Language Film. Details surrounding the film's feasibility for the award resulted in confusion. Released on October 24, 2008, the film is usually eligible to be submitted to the 82nd Academy Awards. However, the producers decided to release it on September 24 as a seven-day limited period only in LuleÃÆ'头. It would be quite appropriate to meet the criteria for the 81st Academy Awards instead. When the Swedish Film Institute on September 16 announced that Jan Troell's Everlasting Moments had been chosen instead of Let's Be True In , the screening of LuleÃÆ'  ¥ was canceled. Despite the fact that the film was released in a feasibility period for the 82nd Academy Awards, it was not among the films considered because the Swedish Film Institute did not allow the film to be considered twice.
American version
After the release of Let The Right In take place, Cloverfield director Matt Reeves signed a contract to write and direct the English version for Overture Films and Hammer Films. Hammer Films secured the rights at the 2008 Tribeca Film Festival, where Let The Right Person In win the "Founder Award for Best Narrative Feature", and the Overture movie is planned to release this movie in 2010. Alfredson has expressed unhappiness about the remake idea, saying that "Remakes must be made from a not very good movie, which gives you a chance to fix anything wrong" and expressed concern that the end result would be too general. Alfredson was initially asked to direct the remake, but he refused it by stating that "I'm too old to make the same movie twice and I have another story I want to tell." Lindqvist, on the other hand, said that he had heard that Reeves "would make a new movie based on a book, and not make back Swedish movies" and so "it would be something completely different, but it would be very interesting to see." Hammer Producer Films Simon Oakes calls this project a remake of the movie and then not as a remake, but the same as "Reeves' version". Let Me In was released in late 2010, starring ChloÃÆ'½ Grace Moretz and Kodi Smit-McPhee as Abby and Owen, respectively Eli and Oskar, and received very positive reviews but underperformed at the box office.
See also
- Vampire movie
References
External links
- Official website
- Leave The Right In in IMDb
- Let's Get In At at the Swedish Film Institute Database
- Let's Get In At in Mojo Box Office
- Let's Get In At at Rotten Tomatoes
- Leave The Right At in Metacritic
- Original Swedish trailer with English subtitles (from Toronto After Dark Film Festival, also on Videos on YouTube)
Source of the article : Wikipedia
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