An Interesting Observation By A Reviewer

[Wolfchild]

I tend to read a lot of reviews of this film, because every once in a while I find one that contains some interesting observation or or an enlightening thought. In this review I came across an excellent and well-written observation on the film:

The film is a masterpiece of modern horror and manages not to be everything it is. Although this sounds extremely illogical, Let The Right One In is a horror film without a great deal of horror, a coming-of-age movie in which the protagonists don't really come of age and a romance in which there isn't a great deal of romance.

I really wish I had said that.

This is probably very close to the heart of the genius of this film: while it doesn't show a lot of of horror, coming-of-age, or romance on the screen, it still manages to generate a lot of each one in our imaginations. Tomas described this as engaging the audience in a dialog by forcing them to imagine the things not shown. For the most part, Tomas had us create our own horror, had us make Oskar & Eli come of age, had us make them fall in love, in our own imaginations rather than in his film. The most horrific scene was the pool scene, which we watched but was never really shown on the screen. We are shown Oskar finally grabbing the reigns of his own life by leaving with Eli on the train, but it's just a train ride. What it really means for Oskar's life is left to our imaginations. And as for romance, the closest thing resembling an open expression of love is the bloody kiss, and the smile that they share at the pool (and only one half of that shared smile is shown to us - okay, maybe 3/4). But that kiss and those smiles speak volumes in our imaginations.

I think that reviewer was definitely on to something.

[Crow-453]

Very true!

I'm a strong advocate of "less is more", especially when done right, and it definately is done right in LTROI.

However, I'll have to disagree with you on the whole "the only moments of romance we see are" part, as I feel you left out a big one, albeit one that's very subtle.

I speak, of course, of the Morse code tapping of "small kiss" at the end. For me, it's one of those heartwarming moments that always manages to elicit an "Awwww..." from me.

[moonvibe34]

...it still manages to generate a lot of each one in our imaginations. Tomas described this as engaging the audience in a dialog by forcing them to imagine the things not shown. For the most part, Tomas had us create our own horror, had us make Oskar & Eli come of age, had us make them fall in love, in our own imaginations rather than in his film.

Perhaps this is one reason why people seem to either love or hate this film. Some people have no imagination, sad but true. I for one love it when every detail is not laid out before me and thoughts and ideas begin to swirl around in my little mind. Usually for me if I'm still thinking about a movie several hours or days or weeks or months after I've seen it then it has stimulated my imagination and is threatening to become inspiration. That's not something that just any old film or film maker can do.

[gary13136]

...it still manages to generate a lot of each one in our imaginations. Tomas described this as engaging the audience in a dialog by forcing them to imagine the things not shown. For the most part, Tomas had us create our own horror, had us make Oskar & Eli come of age, had us make them fall in love, in our own imaginations rather than in his film.

Perhaps this is why people seem to either love or hate this film. Some people have no imagination, sad but true. I for one love it when every detail is not laid out before me and thoughts and ideas begin to swirl around in my little mind. Usually for me if I'm still thinking about a movie several hours or days or weeks or months after I've seen it then it has stimulated my imagination and is threatening to become inspiration. That's not something that just any old film or film maker can do.

Agreed. Life without imagination would be......unimaginable. When you consider how graphic much of entertainment is today, you have probably a whole generation that doesn't know how to use it's imagination. At the same time, if everything is graphic, you come to expect it and are disappointed when you don't receive it. If you compare the orginal Dracula (played by Bela Lugosi) with Coppola's Dracula (with Gary Oldman), there's a world of difference.

[DMt.]

Well observed, yes...creating a charged space in which the viewer's imagination can draw a spark, that must be close to the core of artistry.

[Crow-453]

If you compare the orginal Dracula (played by Bela Lugosi) with Coppola's Dracula (with Gary Oldman), there's a world of difference.

And yet, you can still see some inspiration that Oldman took from Lugosi. For instance, the "I never drink...wine" line.

[N.R. Gasan]

The film is a masterpiece of modern horror and manages not to be everything it is. Although this sounds extremely illogical, Let The Right One In is a horror film without a great deal of horror, a coming-of-age movie in which the protagonists don't really come of age and a romance in which there isn't a great deal of romance.

...it still manages to generate a lot of each one in our imaginations. Tomas described this as engaging the audience in a dialog by forcing them to imagine the things not shown. For the most part, Tomas had us create our own horror, had us make Oskar & Eli come of age, had us make them fall in love, in our own imaginations rather than in his film.

Perhaps this is one reason why people seem to either love or hate this film. Some people have no imagination, sad but true. I for one love it when every detail is not laid out before me and thoughts and ideas begin to swirl around in my little mind. Usually for me if I'm still thinking about a movie several hours or days or weeks or months after I've seen it then it has stimulated my imagination and is threatening to become inspiration. That's not something that just any old film or film maker can do.

EXCELLENT. What the reviewer wrote, then elaborated on by Wolf and moon, are probably the best observations I've seen describing the appeal of LTROI. Just wanted to say that.

[gattoparde59]

I read another review that expressed this same idea, describing the film as "greater than the sum of its parts." It is actually a very humble take on cinema. What could be more beautiful or horrible than the things that the viewer can imagine? What could be more meaningful than the meanings that viewers find for themselves?

At the opposite extreme, those kitty-cats . . .

[DMt.]

What could be more beautiful or horrible than the things that the viewer can imagine? What could be more meaningful than the meanings that viewers find for themselves?

The opposite of signposting/spoonfeeding, yes.

[gary13136]

If you compare the orginal Dracula (played by Bela Lugosi) with Coppola's Dracula (with Gary Oldman), there's a world of difference.

And yet, you can still see some inspiration that Oldman took from Lugosi. For instance, the "I never drink...wine" line.

Obviously there are similarities. What I was referring to was the degree of graphicness between the two movies. It has been a long time since I saw the Bela Lugosi version, but to the best of my memory, you had to use a lot of imagination with that movie. In the newer movie; extremely graphic and little, if anything, left to the imagination.