Swedish Subtitles

Every once in a while someone asks about various lines from the original Swedish dialogue. Below is the Swedish subtitle track from Låt den rätte komma in, which can be helpful in answering such questions.

Time Index
Dialog
1 00:02:05,865 –> 00:02:09,255 Skrik som en gris.
2 00:02:09,536 –> 00:02:12,096 Skrik, då!
3 00:02:38,481 –> 00:02:41,837 (FLICKAS NYNNANDE)
4 00:03:35,997 –> 00:03:40,275 Skrik. Skrik som en gris.
5 00:04:18,707 –> 00:04:21,938 (RÖSTER)
6 00:05:16,139 –> 00:05:23,727 Polisen har metoder att se om nåt är
galet. Minns ni husbranden i Ängby?
7 00:05:24,189 –> 00:05:29,707 En villa brann ner till grunden och
vi hittade en person, död förstås.
8 00:05:30,070 –> 00:05:38,466 Där visste vi att branden anlagts för
att dölja att personen mördats innan.
9 00:05:38,953 –> 00:05:43,390 Hur kunde vi veta det?
Jo, det… Ja?
10 00:05:44,751 –> 00:05:48,585 För att det inte fanns rök
i lungorna.
11 00:05:48,880 –> 00:05:53,795 Ja, det stämmer.
Räknade du ut det nu?
12 00:05:54,135 –> 00:06:00,688 Nej, jag läser mycket och så…
Vilken sorts böcker, undrar man ju?
13 00:06:01,101 –> 00:06:05,492 Inga särskilda.
Okej.
14 00:06:05,814 –> 00:06:13,050 Nu ska vi prata droger. Vet ni vilka
som är vanligast mellan 13 och 18 år?
15 00:06:16,491 –> 00:06:18,846 Öh, Oskar!
16 00:06:20,120 –> 00:06:24,238 Vad glor du på? Va?
17 00:06:24,541 –> 00:06:27,374 Är det mig du glor på?
18 00:06:27,627 –> 00:06:30,983 Det ska du ge fan i!
19 00:06:35,927 –> 00:06:41,047 Piiiiiip! Vad duktig du var, grisen.
20 00:06:47,605 –> 00:06:53,919 Conny, vart ska du? Vi har gympa nu.
Jag skiter i gympan.
21 00:07:06,499 –> 00:07:11,527 (VÄDERLEKSRAPPORT PÅ RADION)
22 00:08:25,203 –> 00:08:27,876 Ursäkta.
Ja?
23 00:08:28,123 –> 00:08:32,321 Hur mycket är klockan?
Jag har ingen klocka.
24 00:08:32,627 –> 00:08:37,906 Vad är det där?
Det kallas för Halotan.
25 00:08:41,845 –> 00:08:44,439 Men, nej…
26 00:10:29,994 –> 00:10:32,462 Ricky!
27 00:10:36,835 –> 00:10:38,427 Ricky!
28 00:10:38,628 –> 00:10:40,664 (HUNDSKALL)
29 00:10:44,843 –> 00:10:47,152 Stick!
30 00:10:47,387 –> 00:10:50,823 Ricky! Ricky!
31 00:10:56,980 –> 00:10:59,733 Ricky!
32 00:11:03,570 –> 00:11:06,403 Jävla hund!
33 00:11:08,867 –> 00:11:11,222 Ricky!
34 00:12:14,766 –> 00:12:17,758 Vad glor du på?
35 00:12:18,019 –> 00:12:19,975 Va?
36 00:12:21,439 –> 00:12:26,593 Är det mig du glor på?
Det ska du ge fan i.
37 00:12:29,322 –> 00:12:32,997 Vad är det med dig?
38 00:12:33,284 –> 00:12:35,957 Är du rädd?
39 00:12:37,622 –> 00:12:41,297 Skrik, då! Skrik, då!
40 00:12:53,638 –> 00:12:58,314 Vad gör du?
Inget.
41 00:12:58,643 –> 00:13:02,113 Vad gör du?
Ingenting.
42 00:13:02,397 –> 00:13:08,347 Bor du här, eller…?
Ja, här på klätterställningen.
43 00:13:08,737 –> 00:13:12,525 Visst. Men var bor du?
44 00:13:13,950 –> 00:13:19,414 Bredvid dig.
Hur vet du var jag bor?
45 00:13:19,414 –> 00:13:19,846 Bredvid dig.
Hur vet du var jag bor?
46 00:13:25,420 –> 00:13:29,891 Jag kan inte bli vän med dig.
Bara så du vet.
47 00:13:30,216 –> 00:13:36,325 Vadårå?
Måste det finnas en anledning?
48 00:13:36,723 –> 00:13:39,920 Det bara är så.
49 00:13:48,234 –> 00:13:51,988 Tror du jag vill bli vän med dig, då?
50 00:14:18,014 –> 00:14:22,530 Du har ju sagt att du ska hjälpa mig.
51 00:14:29,526 –> 00:14:33,963 Ska jag behöva göra det där själv?
52 00:14:44,749 –> 00:14:48,264 Säg nånting, då!
Förlåt.
53 00:14:51,715 –> 00:14:56,106 Men vet alltså inte varför
den här pojken mördades.
54 00:14:56,428 –> 00:15:02,139 Jag förstår om många är oroliga,
men kuratorn är här hela dan.
55 00:15:02,517 –> 00:15:07,545 Ni kan gå ner och prata med henne
när ni vill. Vill nån fråga nåt?
56 00:15:07,897 –> 00:15:12,095 Om man träffar mördaren,
får man mörda honom då?
57 00:15:12,402 –> 00:15:16,111 Conny, det där var väl onödigt?
58 00:15:27,459 –> 00:15:29,848 Oskar!
59 00:15:31,379 –> 00:15:35,338 Oskar! Grisen!
60 00:15:39,804 –> 00:15:42,716 Var är du, grisen?
61 00:16:00,325 –> 00:16:06,958 Gå hem direkt efter skolan, gå inte
utanför gården förrän jag kommer.
62 00:16:07,374 –> 00:16:12,050 Men det var ju i Vällingby.
Så nån som mördar barn…
63 00:16:12,379 –> 00:16:18,818 …kan inte ta tunnelbanan två
stationer, eller gå en kilometer?
64 00:16:30,397 –> 00:16:35,152 Nej, han ska till sin pappa
nästa vecka, så…
65 00:17:42,635 –> 00:17:46,184 Här kommer ju stumpan.
Tjena, tjena.
66 00:17:47,557 –> 00:17:55,987 Jag anser inte att dödsstraffet har
nån relevans i vårt rättssamhälle.
67 00:17:57,776 –> 00:18:02,213 Det är ju bara nåt nys
de har lurat i oss.
68 00:18:02,530 –> 00:18:07,968 Ungefär som ryssarna eller nåt sånt.
Finns inte ryssar?
69 00:18:08,328 –> 00:18:12,116 Klart det finns ryssar, men…
Jag har aldrig sett honom.
70 00:18:12,415 –> 00:18:18,285 Huggormar då, Jocke? Ärligt talat,
vem har blivit biten av en huggorm?
71 00:18:18,671 –> 00:18:26,589 Han flyttade in på min gård häromdan.
Med en liten unge. Jannes gamla kvart
72 00:18:27,055 –> 00:18:32,652 Ska jag be han komma över?
Nej, nej, för fan!
73 00:18:33,019 –> 00:18:39,652 Han kanske bjuder.
I så fall kan gubben få ha cancer.
74 00:18:45,865 –> 00:18:48,333 Dåligt?
75 00:18:51,204 –> 00:18:54,560 Ja, det är för jävligt.
76 00:18:58,044 –> 00:19:01,878 Du har flyttat in i 15, va?
77 00:19:03,842 –> 00:19:08,870 Ska du sitta ensam? Kom över
och garva lite i stället. Va?
78 00:19:09,222 –> 00:19:13,579 Ja, du, jag har lite bråttom, så…
79 00:19:16,563 –> 00:19:19,077 (TV-RÖSTER)
80 00:19:19,315 –> 00:19:22,990 Mamma, jag går ut ett tag.
81 00:19:23,278 –> 00:19:28,511 Men ska du inte titta färdigt?
Nej, det är inget bra.
82 00:19:28,867 –> 00:19:32,906 Bara på gården, då.
Mmm…
83 00:19:34,247 –> 00:19:37,842 Jag ska i alla fall titta klart.
84 00:20:23,004 –> 00:20:27,395 Är du här igen?
Är du här igen?
85 00:20:28,718 –> 00:20:32,427 Jag vill vara i fred.
Jag vill också det.
86 00:20:33,348 –> 00:20:35,942 Gå hem, då.
Gå hem själv.
87 00:20:36,184 –> 00:20:39,859 Jag har bott här längre än du.
88 00:20:45,610 –> 00:20:51,480 Vad är det där?
Det här? Det är en Rubiks kub.
89 00:20:51,866 –> 00:20:55,256 Är det ett pussel?
90 00:20:55,537 –> 00:20:58,176 Ja.
91 00:21:02,919 –> 00:21:06,275 Vill du låna den? Tills i morgon.
92 00:21:08,633 –> 00:21:13,627 Jag kanske inte är här i morgon.
I övermorgon, då. Sen får du inte.
93 00:21:29,362 –> 00:21:34,516 Hur gör man?
Man ska få sidorna enfärgade.
94 00:21:35,660 –> 00:21:37,730 Så här…
95 00:22:05,356 –> 00:22:09,110 Du luktar konstigt.
96 00:22:14,449 –> 00:22:18,124 Fryser du inte?
Nej.
97 00:22:18,870 –> 00:22:22,658 Varför det?
Jag har väl glömt hur man gör.
98 00:22:28,296 –> 00:22:32,084 Vi ses i morrn, då.
Mmm…
99 00:22:34,844 –> 00:22:40,555 (HENNES MAGE KURRAR)
100 00:23:07,252 –> 00:23:10,688 (LÅGMÄLT SMÅPRAT)
101 00:23:12,424 –> 00:23:14,574 Okej.
102 00:23:14,801 –> 00:23:21,593 I glädjens och samvarons tecken, tack
för ännu en kväll, gamla fetknopp.
103 00:23:22,016 –> 00:23:24,052 Vi ses i morrn.
Ja.
104 00:23:24,269 –> 00:23:27,500 Jocke, du är bäst!
Du med.
105 00:23:38,324 –> 00:23:40,155 (MJAU)
106 00:23:45,874 –> 00:23:48,069 Hjälp mig.
107 00:23:55,759 –> 00:23:57,590 MAN: Hallå…
108 00:23:59,888 –> 00:24:03,403 Snälla, hjälp mig.
109 00:24:05,018 –> 00:24:07,771 Har det hänt nåt?
110 00:24:15,528 –> 00:24:18,361 Är du skadad?
111 00:24:20,909 –> 00:24:24,424 Kan du resa dig upp?
Nej.
112 00:24:26,456 –> 00:24:28,572 FLICKA: Aj!
113 00:24:33,380 –> 00:24:40,138 Jag bär dig nånstans du kan ringa.
Du väger ju ingenting.
114 00:24:42,639 –> 00:24:47,394 MAN: Aj, din jävel. Aj, aj!
115 00:24:55,819 –> 00:24:59,095 (SÖRPLANDE)
116 00:25:33,440 –> 00:25:37,035 (ARGA RÖSTER)
117 00:26:24,491 –> 00:26:29,485 (MJAU – MJAU – MJAU)
118 00:26:38,797 –> 00:26:42,472 Aldrig mer göra så.
119 00:26:51,434 –> 00:26:57,907 Gösta? Vad fan, Gösta?
Det var inte i går, och inte i år.
120 00:26:58,316 –> 00:27:01,513 Jocke…
Va?
121 00:27:01,778 –> 00:27:04,497 Jocke…
122 00:27:04,739 –> 00:27:11,736 Jag stod på balkongen däruppe,
så såg jag Jocke och nån liten unge.
123 00:27:12,163 –> 00:27:15,121 Kattunge…
Nej.
124 00:27:15,375 –> 00:27:21,371 Kan det inte ha varit en dvärg?
Det var här nånstans.
125 00:27:24,134 –> 00:27:26,967 Men flytta på dig.
126 00:27:29,431 –> 00:27:34,903 Vad fan är det här för nånting?
Åh, fy satan!
127 00:27:35,270 –> 00:27:41,220 Det är ju blod, för fan.
Vem fan har gjort det här?
128 00:30:36,743 –> 00:30:39,257 Hur gjorde du?
129 00:30:44,209 –> 00:30:46,359 Jag vred.
130 00:30:50,924 –> 00:30:53,882 Luktar jag bättre?
131 00:30:58,890 –> 00:31:02,360 Vad heter du?
132 00:31:02,644 –> 00:31:04,999 Eli.
133 00:31:05,230 –> 00:31:08,984 Vad heter du?
Eli?
134 00:31:09,275 –> 00:31:12,904 Ja.
Oskar heter jag.
135 00:31:15,031 –> 00:31:20,822 Hur gammal är du?
Tolv. Ungefär.
136 00:31:21,204 –> 00:31:26,358 Du, då?
12 år, 8 månader och 9 dagar.
137 00:31:26,710 –> 00:31:29,668 Vadå “tolv ungefär”?
138 00:31:32,465 –> 00:31:36,663 När fyller du år?
Jag vet inte.
139 00:31:38,012 –> 00:31:45,600 Men när har du födelsedag och så?
Dina föräldrar måste ju veta.
140 00:31:52,360 –> 00:31:56,956 Så du får aldrig några presenter?
Nej.
141 00:32:02,996 –> 00:32:07,308 Du kan få den här, om du vill.
Den är din.
142 00:32:13,131 –> 00:32:19,366 Jag fattar inte hur du gjorde.
Ska jag visa dig?
143 00:32:22,015 –> 00:32:27,328 Nu. Visa.
Man måste börja med hörnen.
144 00:32:27,687 –> 00:32:34,638 Så tar man den här sidan, och
så sätter man… och gör så där.
145 00:32:35,070 –> 00:32:41,543 Äh, nej. Så där var det, ja.
Ser du. Så. Där…
146 00:32:44,371 –> 00:32:51,766 “Han sprang bland trädskuggorna och
aktade sig för att komma i ljuset.”
147 00:32:52,212 –> 00:32:58,890 “Snart återvände de för att vakta
porten, muttrande och svärande.”
148 00:32:59,302 –> 00:33:02,772 “Bilbo var räddad.”
149 00:33:07,560 –> 00:33:13,430 Då slutar vi. Har alla lämnat in
lapparna till friluftsdagen?
150 00:33:13,817 –> 00:33:16,775 Bra. Tack för idag, då.
151 00:33:24,285 –> 00:33:30,201 Oskar, ska du inte…?
Nej, jag har lite att göra.
152 00:33:34,421 –> 00:33:37,493 Conny, kom!
153 00:33:51,896 –> 00:33:55,571 Lång, kort, kort.
154 00:34:33,646 –> 00:34:37,559 Vad var det för papper du skrev på?
155 00:34:37,859 –> 00:34:41,818 Vadå “papper”?
Få se…
156 00:34:51,206 –> 00:34:55,040 Nej.
Vadå “nej”? Ge hit den.
157 00:35:37,377 –> 00:35:40,687 (SNYFTNINGAR)
158 00:35:53,184 –> 00:35:57,143 Vem ska prata med hans morsa nu, då?
159 00:35:57,439 –> 00:36:00,158 Men vad fan? Vänta!
160 00:36:00,400 –> 00:36:02,516 Oskar!
161 00:36:04,612 –> 00:36:08,207 (HÅNSKRATT)
162 00:36:08,491 –> 00:36:12,120 Grisen!
163 00:36:13,580 –> 00:36:16,538 Jag ramlade på rasten.
164 00:36:19,335 –> 00:36:21,296 Jag ramlade på en sten.
ÄIskling…
165 00:36:21,296 –> 00:36:24,652 Jag ramlade på en sten.
ÄIskling…
166 00:36:24,924 –> 00:36:28,758 Du måste vara försiktig.
167 00:36:36,728 –> 00:36:41,802 Kort, lång, lång, kort, lång.
168 00:36:42,400 –> 00:36:46,359 Kort, lång, lång, kort, lång.
169 00:36:46,654 –> 00:36:48,451 Precis.
170 00:36:50,283 –> 00:36:52,001 Här.
171 00:36:56,623 –> 00:36:59,535 Vad har hänt?
172 00:37:00,752 –> 00:37:02,629 Här…
173 00:37:06,383 –> 00:37:09,102 Några klasskompisar.
174 00:37:13,765 –> 00:37:18,395 Var går du i skolan, egentligen?
Oskar, du…
175 00:37:19,813 –> 00:37:23,408 Mmm…
Du ska slå tillbaka.
176 00:37:25,318 –> 00:37:29,789 Mmm…
Du har aldrig slagit tillbaka?
177 00:37:30,240 –> 00:37:36,588 Eller hur?
Börja nu. Slå tillbaka.
178 00:37:37,497 –> 00:37:39,374 Hårt.
179 00:37:41,251 –> 00:37:45,563 Men de är tre stycken.
Då får du slå ännu hårdare.
180 00:37:45,880 –> 00:37:50,590 Slå tillbaka mer än vad du vågar.
Då slutar dom.
181 00:37:51,428 –> 00:37:55,626 Men om dom…
Då hjälper jag dig.
182 00:37:57,267 –> 00:37:59,417 Jag kan det.
183 00:38:12,532 –> 00:38:14,488 Kom!
184 00:38:17,495 –> 00:38:19,406 Kom!
185 00:38:34,262 –> 00:38:36,571 Flytta på dig.
186 00:38:36,806 –> 00:38:40,355 Jag behöver vara här.
Varför det?
187 00:38:40,935 –> 00:38:42,812 Så…
188 00:38:51,529 –> 00:38:53,724 Äh!
189 00:38:56,826 –> 00:39:00,739 Nu ska vi se… kort, kort.
190 00:39:03,958 –> 00:39:06,756 (KNACKNINGAR)
191 00:39:08,046 –> 00:39:09,638 S
192 00:39:09,839 –> 00:39:11,875 O
193 00:39:13,635 –> 00:39:15,671 V
194 00:39:19,182 –> 00:39:20,774 G
195 00:39:20,975 –> 00:39:28,086 Håll avståndet, inte för nära, inte
för långt borta, håll avståndet.
196 00:39:32,821 –> 00:39:35,289 Så, lugnt.
197 00:39:38,785 –> 00:39:40,582 Ja.
198 00:39:45,041 –> 00:39:52,550 Jo, styrketräningen i badhuset…
Kan man anmäla sig till den?
199 00:39:53,007 –> 00:39:57,125 Man behöver inte anmäla sig.
Det är bara att komma, klockan sju.
200 00:39:57,429 –> 00:40:00,068 Vill du göra det?
Ja.
201 00:40:00,306 –> 00:40:06,779 Bra. Du tränar,
sen kan du göra bom 50 gånger.
202 00:40:08,857 –> 00:40:11,052 (REPLIK PÅ SPANSKA)
203 00:40:14,404 –> 00:40:16,679 Vänta lite.
204 00:40:17,991 –> 00:40:20,027 Blandat.
205 00:40:29,252 –> 00:40:31,607 Här.
206 00:40:35,467 –> 00:40:37,185 Nej.
207 00:40:41,306 –> 00:40:43,456 Synd.
208 00:40:45,185 –> 00:40:48,541 Jag kan… prova en.
209 00:41:08,208 –> 00:41:11,166 (KRÄKNINGAR)
210 00:41:28,478 –> 00:41:30,912 Förlåt.
211 00:41:49,124 –> 00:41:51,115 Oskar…
212 00:41:52,544 –> 00:41:55,502 Tycker du om mig?
213 00:41:55,755 –> 00:42:01,591 Ja, jättemycket.
Om jag inte varit en flicka…
214 00:42:01,970 –> 00:42:07,966 Hade du tyckt om mig ändå?
Ja, det hade jag väl.
215 00:42:10,979 –> 00:42:14,016 Varför frågar du det?
216 00:42:45,638 –> 00:42:47,196 Oskar…
217 00:42:47,390 –> 00:42:50,143 Hej! Hej, gubben.
218 00:42:51,770 –> 00:42:54,489 Vad tidigt du kommer.
Hej, pappa.
219 00:44:17,564 –> 00:44:21,079 (FLICKAS NYNNANDE)
220 00:44:25,780 –> 00:44:33,209 Det finns folk som känner igen mig,
som vet att jag bor här med dig.
221 00:44:33,663 –> 00:44:40,102 Du kanske inte ska…
Vad ska du annars ha mig till?
222 00:44:42,797 –> 00:44:45,709 Kan du göra en sak för mig?
223 00:44:45,967 –> 00:44:52,236 Kan du låta bli att träffa den där
pojken i kväll? Åtminstone…
224 00:45:59,082 –> 00:46:02,597 (STÖNANDEN)
225 00:46:29,362 –> 00:46:30,920 Vad fan?
226 00:46:31,114 –> 00:46:37,428 Vart tog Matte vägen? Gå och kolla.
Fan…
227 00:46:45,754 –> 00:46:48,473 Matte.
228 00:46:49,549 –> 00:46:52,746 Fan, taja får du göra hemma.
229 00:46:54,179 –> 00:46:57,216 Matte. Det börjar ju nu.
230 00:46:57,474 –> 00:47:03,424 Varför har du tagit bort handtaget?
Vad håller du på med?
231 00:47:05,190 –> 00:47:08,819 Matte.
Släpp ner mig.
232 00:47:12,197 –> 00:47:15,234 Släpp ner mig!
233 00:47:17,786 –> 00:47:19,663 Hjälp!
234 00:47:24,209 –> 00:47:26,165 Hjälp!
235 00:47:29,506 –> 00:47:31,462 Hjälp!
236 00:47:33,176 –> 00:47:36,532 Matte.
Hjälp!
237 00:47:36,805 –> 00:47:41,003 Nu tar du fram handtaget och öppnar.
Hjälp!
238 00:47:41,309 –> 00:47:44,688 Gå och hämta den där plinten.
Hjälp!
239 00:47:44,688 –> 00:47:45,120 Gå och hämta den där plinten.
Hjälp!
240 00:47:45,271 –> 00:47:48,581 Där ute i gymnastiksalen.
Hjälp!
241 00:47:50,527 –> 00:47:54,759 Hjälp! Hjälp!
242 00:47:55,865 –> 00:48:03,374 Ta tag där! Kom igen här. Jag tar i
här bakom. Okej. Ett, två, tre. Nu!
243 00:48:06,626 –> 00:48:08,184 Hjälp!
244 00:48:12,048 –> 00:48:17,486 Ta ner mig härifrån.
Hur har du hamnat här?
245 00:48:25,186 –> 00:48:27,859 Eli…
246 00:49:58,029 –> 00:50:02,466 …ryska kommunistpartiets
generalsekreterare Leonid Brezjnev.
247 00:50:02,784 –> 00:50:07,812 Identiteten har inte kunnat
fastställas på mannen som greps-
248 00:50:08,164 –> 00:50:13,796 misstänkt för mord, respektive
mordförsök, i Vällingby.
249 00:50:14,170 –> 00:50:20,245 Identifieringen försvåras av att
mannen skadade sig före gripandet.
250 00:50:20,635 –> 00:50:22,512 Sport, Tomas Gustafson…
251 00:50:25,932 –> 00:50:32,849 Det är bara att komma in.
Gå mot dörrarna så öppnar de sig.
252 00:50:46,703 –> 00:50:48,056 Ja?
253 00:50:49,247 –> 00:50:56,244 Förlåt, jag letar efter min pappa.
Är han inlagd här?
254 00:50:56,671 –> 00:51:01,870 Vad heter han, då?
Han är sjuk.
255 00:51:02,218 –> 00:51:07,212 Polisen tog honom.
Var kan han vara då?
256 00:51:09,225 –> 00:51:14,094 Då är han på plan 7, men… man
får inte komma in hur som helst.
257 00:51:14,439 –> 00:51:19,194 Jag kan ringa.
Nej, det behövs inte.
258 00:51:22,572 –> 00:51:25,609 Men, lilla vän…
259 00:52:40,066 –> 00:52:43,183 Får jag komma in?
260 00:54:17,372 –> 00:54:20,921 En unge…
261 00:54:21,209 –> 00:54:26,886 Varför i helvete skulle en unge
vilja döda Jocke?
262 00:54:27,257 –> 00:54:29,452 Jag vet inte.
263 00:54:29,676 –> 00:54:34,113 Den finaste, snällaste människa
du kan tänka dig.
264 00:54:35,724 –> 00:54:38,682 Jag ska slita ungjäveln i stycken.
265 00:54:38,935 –> 00:54:42,450 (KNACKNINGAR)
266 00:54:42,731 –> 00:54:44,847 Oskar!
267 00:54:45,066 –> 00:54:48,945 Mmm…
Får jag komma in?
268 00:54:51,489 –> 00:54:54,083 Titta inte.
269 00:54:55,577 –> 00:54:58,614 Men säg att jag får komma in.
270 00:54:59,539 –> 00:55:03,452 Ja, du får komma in.
271 00:55:09,299 –> 00:55:11,654 Blunda, då.
272 00:55:22,604 –> 00:55:25,357 Hur kom du in?
273 00:55:25,607 –> 00:55:29,395 Jag flög.
Visst.
274 00:55:30,862 –> 00:55:34,138 Men du har ju inga kläder på dig.
275 00:55:35,450 –> 00:55:38,681 Du är ju iskall.
276 00:55:38,953 –> 00:55:43,151 Förlåt. Är det äckligt?
277 00:55:46,002 –> 00:55:47,401 Nej.
278 00:55:50,632 –> 00:55:57,151 Bulleri, bulleribock,
hur många horn står opp?
279 00:56:02,435 –> 00:56:04,551 Eli…
280 00:56:07,148 –> 00:56:10,504 Får jag chans på dig?
281 00:56:14,155 –> 00:56:18,387 Vadå?
Ja, alltså…
282 00:56:19,786 –> 00:56:23,620 Vill du bli ihop med mig?
283 00:56:24,833 –> 00:56:29,429 Oskar, jag är ingen flicka.
284 00:56:31,047 –> 00:56:33,003 Nähä.
285 00:56:34,050 –> 00:56:39,966 Har jag chans på dig, eller…?
Kan vi inte ha det som vi har det?
286 00:56:45,353 –> 00:56:47,423 Jo.
287 00:56:47,647 –> 00:56:51,879 Gör man nåt speciellt
när man har chans?
288 00:56:52,193 –> 00:56:53,911 Nej.
289 00:56:55,071 –> 00:56:58,347 Är allt som vanligt?
290 00:57:01,870 –> 00:57:03,428 Ja.
291 00:57:07,375 –> 00:57:10,685 Då har du chans på mig.
Va?
292 00:57:10,962 –> 00:57:13,396 Då är vi ihop.
293 00:57:13,631 –> 00:57:17,624 Säkert?
Ja.
294 00:57:21,097 –> 00:57:23,327 Bra.
295 00:59:21,384 –> 00:59:24,262 (VISSELPIPA)
296 00:59:24,512 –> 00:59:31,224 Lyssna på mig!
Lågstadiet kommer med mig härinne!
297 00:59:31,644 –> 00:59:36,764 Mellanstadiet börjar med fri åkning!
298 00:59:38,651 –> 00:59:43,520 Akta med ishålet därborta! Uppfattat?
299 00:59:45,492 –> 00:59:50,407 Avila, det heter isvak.
Isvak, ja.
300 00:59:51,414 –> 00:59:55,612 Jag menade isvak!
Vill du bada?
301 00:59:55,919 –> 00:59:59,389 Akta med isvaken därborta!
302 01:00:34,833 –> 01:00:39,827 (LÅGMÄLT SMÅPRAT)
303 01:00:57,188 –> 01:00:59,941 Skulle du bada?
304 01:01:05,030 –> 01:01:06,258 Nej.
305 01:01:08,158 –> 01:01:12,276 Magistern, magistern,
jag måste gå och kissa.
306 01:01:12,579 –> 01:01:15,855 Kissa vid trädet där.
På isen?
307 01:01:16,124 –> 01:01:19,594 Vad spelar det för roll?
Det blir ny is. Gul.
308 01:01:22,338 –> 01:01:28,686 Vad ska du med pinnen till?
Slå dig, om du försöker nåt.
309 01:01:29,095 –> 01:01:32,451 Har grisen plötsligt blivit modig?
310 01:01:38,938 –> 01:01:44,854 Jag puttar ner dig, och du kommer
inte göra nånting. Har jag rätt?
311 01:01:45,236 –> 01:01:50,993 Lilla grisen, akta dig, annars tar…
312 01:01:55,497 –> 01:01:57,249 Titta!
313 01:01:59,626 –> 01:02:02,060 Kom, då!
314 01:02:02,462 –> 01:02:09,015 Magistern kommer bli helt galen, ju.
Ska han bara stå där, eller…?
315 01:02:25,568 –> 01:02:27,763 (SKRIK)
316 01:02:27,987 –> 01:02:33,698 Vad håller ni på med därborta?
Oskar och Conny, vad gör ni?
317 01:02:34,077 –> 01:02:37,387 (VÄLDIGA SKRIK)
318 01:02:37,956 –> 01:02:40,231 Aj, aj, aj!
319 01:03:01,354 –> 01:03:03,151 Kom nu.
320 01:03:29,674 –> 01:03:35,351 Jo, det kommer dom,
och vad ska jag svara då?
321 01:03:35,722 –> 01:03:39,681 “Tyvärr, min son har ingen pappa.”
322 01:03:41,227 –> 01:03:45,300 Jo, det är det. Nu kommer han.
323 01:03:45,607 –> 01:03:52,319 De har ringt från skolan. Du får
prata med din pappa, för jag…
324 01:03:52,739 –> 01:03:54,252 Hej.
325 01:03:55,700 –> 01:03:58,089 Det är bra.
326 01:03:58,328 –> 01:04:00,796 Jag vet inte.
327 01:04:01,039 –> 01:04:06,477 Går moppen? Jag får se…
328 01:04:44,624 –> 01:04:46,615 Tja, Oskar.
329 01:04:49,254 –> 01:04:52,644 Så du skulle bada i alla fall.
330 01:04:52,924 –> 01:04:55,996 Äh, jag bara skojade.
331 01:05:16,531 –> 01:05:20,365 Alltså, man får ju inte
vara här egentligen.
332 01:05:20,660 –> 01:05:25,859 Men några killar i 8b
brukar vara det ändå.
333 01:05:27,625 –> 01:05:30,742 Och du, vet du, idag…
334 01:05:32,088 –> 01:05:35,842 De försökte slänga mig i en vak
på isen, men jag…
335 01:05:36,134 –> 01:05:39,490 Oskar…
Jag hade en pinne.
336 01:05:39,763 –> 01:05:44,473 Jag slog Conny så hårt i huvet
att han fick åka till sjukhus.
337 01:05:44,809 –> 01:05:46,845 Oskar…
338 01:05:49,230 –> 01:05:50,743 Ja?
339 01:05:52,233 –> 01:05:54,189 Hurra!
340 01:05:58,782 –> 01:06:01,899 (MUSIK)
341 01:06:46,454 –> 01:06:50,606 Vad var det för grej vi skulle göra?
342 01:07:23,950 –> 01:07:29,468 Vi ska blanda.
Det gör inte alls ont.
343 01:07:31,207 –> 01:07:35,962 Men du behöver ju bara
sticka dig i fingret.
344 01:07:55,440 –> 01:07:57,590 Eli…
345 01:08:00,236 –> 01:08:02,272 Eli…
346 01:08:03,531 –> 01:08:04,805 Gå!
347 01:08:06,534 –> 01:08:08,764 Försvinn!
348 01:08:48,785 –> 01:08:52,824 De fick såga upp honom ur isen.
Bara att gå till snuten nu.
349 01:08:53,123 –> 01:09:00,074 Vad fan nojjar du för?
Förhör och saker…
350 01:09:00,505 –> 01:09:07,297 De kanske sätter mig i ett sånt där
rum och… lyser på mig med en lampa.
351 01:09:07,721 –> 01:09:11,714 Jocke och jag var så här nära.
Jag kan inte.
352 01:09:12,017 –> 01:09:17,887 Det finns faktiskt nåt som heter
“vittnesplikt”.
353 01:09:18,273 –> 01:09:20,912 Fan…
354 01:09:21,151 –> 01:09:26,020 Ni sitter och surrar om “jävla
fin människa” och allt det där.
355 01:09:26,364 –> 01:09:30,039 Jag har ingenting kvar
nu när han är borta.
356 01:09:31,536 –> 01:09:33,652 Ingenting!
357 01:09:33,872 –> 01:09:37,103 Men Lacke…
Sluta med det där jävla…
358 01:09:37,375 –> 01:09:41,254 Kom inte med ditt jävla
“Lacke, Lacke”.
359 01:09:41,546 –> 01:09:46,666 Du fattar inte ett skit. Du är kall.
Du är helt jävla iskall.
360 01:09:48,303 –> 01:09:52,262 Och så ska man köra över dig där…
361 01:09:54,559 –> 01:09:57,278 Aj! Fan…
362 01:09:58,772 –> 01:10:02,287 Det där skötte du ju jävligt snyggt,
Lacke.
363 01:10:04,069 –> 01:10:08,108 Hörru, Ginia! Men vänta då!
364 01:10:12,535 –> 01:10:14,605 (SNYFTNINGAR)
365 01:10:14,829 –> 01:10:20,665 Men, Ginia, snälla, för fan,
vi kan väl snacka om saken?
366 01:10:28,718 –> 01:10:30,470 Hörru…
367 01:10:48,196 –> 01:10:49,788 (SKRIK)
368 01:10:52,200 –> 01:10:57,149 Släpp mig! Släpp mig!
Ge fan i det där.
369 01:11:09,009 –> 01:11:10,965 Ginia…
370 01:11:12,470 –> 01:11:19,387 Men vänta, då! Du tog min tändare.
Jag menade inte så där, Ginia.
371 01:11:21,855 –> 01:11:24,164 Jag älskar ju dig.
Aj!
372 01:12:08,902 –> 01:12:11,018 (BULLER)
373 01:12:21,873 –> 01:12:24,103 Vad fan?
374 01:13:23,643 –> 01:13:25,873 Nej…
375 01:13:33,278 –> 01:13:36,714 Jag såg inte den.
Som vanligt.
376 01:13:36,990 –> 01:13:41,780 Visst. Men nu tar jag dig.
Du kan ju alltid drömma.
377 01:13:42,120 –> 01:13:45,192 Du börjar.
Självklart.
378 01:13:49,336 –> 01:13:51,486 (KNACKNING)
379 01:13:53,590 –> 01:13:59,028 Jaha, får vi storfrämmande?
God afton i stugan.
380 01:14:03,433 –> 01:14:07,267 Jaha, här sitter ni och har det bra.
381 01:14:07,562 –> 01:14:10,030 Jodå.
382 01:14:11,608 –> 01:14:15,965 Så Oskar är här.
Mmm…
383 01:14:24,662 –> 01:14:26,539 Tja…
384 01:14:29,417 –> 01:14:36,289 Pappa! Det är din tur.
Ja, ja, men vi har ju gäster nu.
385 01:14:37,217 –> 01:14:40,653 Vad varmt och skönt ni har det här.
386 01:14:45,934 –> 01:14:49,370 Så det fanns lite hemma ändå?
387 01:16:24,157 –> 01:16:29,185 Det är ju fel. Vi räknade ut
att det skulle bli perfekt.
388 01:16:29,537 –> 01:16:35,009 Så fick de fel på mätstickan
eller vad fan de använder.
389 01:16:35,377 –> 01:16:39,131 Så blev det fel från början,
och bara mer fel.
390 01:16:39,422 –> 01:16:42,732 Nu går man mellan husen
och känner att…
391 01:16:43,009 –> 01:16:46,285 Det var en jävla trafik ikväll.
392 01:16:46,554 –> 01:16:51,344 Jo, men kom in.
Man undrar vad det är för material?
393 01:16:51,685 –> 01:16:57,954 Lågbetald, hela skiten kanske, går
rakt in i knoppen och vad händer?
394 01:16:58,358 –> 01:17:04,752 Det börjar växa naglar i huvet.
Det går dåligt. De tror att…
395 01:17:05,156 –> 01:17:08,671 Ginia, var fan har du varit?
396 01:17:11,413 –> 01:17:18,569 Vad gör du? Jag måste få snacka
med dig. Jag har varit så orolig.
397 01:17:19,004 –> 01:17:23,759 Ta bort dom!
Nu tar du det jävligt lugnt.
398 01:17:24,092 –> 01:17:28,210 Är du inte klok?
Släpp mig.
399 01:17:28,513 –> 01:17:34,224 Vad är det med katterna?
Gösta, ta hand om dina kattjävlar.
400 01:17:34,602 –> 01:17:37,116 Öppna, din jävel!
401 01:17:48,116 –> 01:17:51,426 Släpp mig! Ge fan i…
402 01:17:54,456 –> 01:17:56,048 (SKRIK)
403 01:18:14,517 –> 01:18:17,350 Oskar, är det du?
404 01:18:17,604 –> 01:18:19,356 Ja.
405 01:19:21,793 –> 01:19:24,751 Är du vampyr?
406 01:19:28,717 –> 01:19:33,154 Jag lever på blod. Ja.
407 01:19:35,056 –> 01:19:37,570 Är du…
408 01:19:38,810 –> 01:19:40,766 …död?
409 01:19:42,105 –> 01:19:46,701 Nej. Märks inte det?
410 01:19:50,697 –> 01:19:53,086 Men liksom…
411 01:19:55,118 –> 01:19:57,313 Är du gammal?
412 01:19:58,621 –> 01:20:04,776 Jag är 12 år,
fast det har jag varit väldigt länge.
413 01:20:30,153 –> 01:20:33,190 Är ni liksom fattiga?
414 01:20:35,742 –> 01:20:42,341 Ser du ägget där? Om man sålde det,
skulle man kunna köpa kärnkraftverk.
415 01:20:42,749 –> 01:20:45,058 Det är sant.
416 01:20:45,293 –> 01:20:48,285 Ja, sure.
417 01:20:52,050 –> 01:20:54,723 Lägg ditt finger här.
418 01:21:11,277 –> 01:21:15,714 De där ringarna,
var har du fått dom ifrån?
419 01:21:20,662 –> 01:21:26,339 Jag ska gå hem nu.
Jag ska dela ut reklam i morgon.
420 01:21:26,710 –> 01:21:31,704 För att tjäna pengar?
Mmm…
421 01:21:32,048 –> 01:21:35,279 Men du kan ju få pengar av mig.
422 01:21:41,933 –> 01:21:43,810 Här.
423 01:21:44,019 –> 01:21:46,738 Ta om du vill.
424 01:21:51,067 –> 01:21:53,297 Du har snott dom.
425 01:21:55,613 –> 01:21:59,447 Av folk du har dödat. Eller hur?
Jag har fått dom.
426 01:21:59,743 –> 01:22:03,418 Av vem då?
Olika.
427 01:22:07,208 –> 01:22:10,484 Jag vill gå hem nu.
428 01:22:13,089 –> 01:22:15,842 Om jag får?
429 01:22:27,854 –> 01:22:32,882 Nu jävlar ryker den, ser du.
Farsans frimärkssamling.
430 01:22:33,234 –> 01:22:38,069 Vilken jävla lirare, va.
Ett frimärke…
431 01:22:42,827 –> 01:22:49,778 80000. Åttio lakan.
Bara fixa fram en intressent, vet du.
432 01:22:50,210 –> 01:22:54,522 Jag kommer inte pruta. “Nej,
det finns andra. Folk står i kö.”
433 01:22:54,839 –> 01:23:02,519 Då kan vi tjacka det där fina torpet.
Finns fan inte vackrare trakter.
434 01:23:02,972 –> 01:23:10,287 Vi flyttar, du och jag, hör lärkan
sjunga, potatis och rödbetor…
435 01:23:12,357 –> 01:23:18,273 Lacke, du måste hjälpa mig.
Ja, ja, visst.
436 01:23:18,655 –> 01:23:24,605 Det där barnet…
Hon måste ha smittat mig.
437 01:23:27,664 –> 01:23:31,100 Jag vill inte leva.
438 01:24:26,681 –> 01:24:32,870 God morgon. Det ser bra ut, det här.
Du kommer nog få åka hem idag.
439 01:24:33,271 –> 01:24:38,789 Det känns väl skönt?
Jag ska bara öppna den här.
440 01:24:39,152 –> 01:24:46,263 Och ta ett litet blodprov på dig.
Så där. Så.
441 01:24:46,701 –> 01:24:49,454 Du…
Ja.
442 01:24:51,456 –> 01:24:58,851 Skulle du vilja öppna persiennen?
Ja, visst kan jag göra det.
443 01:25:10,684 –> 01:25:17,078 Ge mig mössan. Ge mig den.
Har du problem, eller…? Ge mig den.
444 01:25:17,482 –> 01:25:21,157 Men ge mig den.
Är du dum i huvet, eller…?
445 01:25:21,444 –> 01:25:23,674 Kom igen nu, Conny.
446 01:25:24,322 –> 01:25:28,440 Ta i lite nu, Conny.
Är du både blind och döv?
447 01:25:28,743 –> 01:25:31,894 Tja.
Tja. Vad gör du?
448 01:25:32,163 –> 01:25:35,439 Du, får jag låna nycklarna?
Jag ska hem.
449 01:25:35,709 –> 01:25:40,260 Visst. Här…
Tack. Vi ses.
450 01:25:40,588 –> 01:25:43,944 Vem bestämmer hemma hos dig, va?
Jaså, du, Conny…
451 01:25:44,217 –> 01:25:49,496 Vad skrattar du åt, då?
Du hör ju bara hälften så mycket.
452 01:25:56,104 –> 01:25:58,459 (DÖRRKLOCKAN)
453 01:26:10,368 –> 01:26:13,678 Tja.
Hej.
454 01:26:22,297 –> 01:26:27,451 Du måste bjuda in mig.
Vad händer om jag inte gör det?
455 01:26:29,929 –> 01:26:36,277 Vad händer om du går in ändå?
Finns det nåt här, eller…?
456 01:27:40,583 –> 01:27:44,371 Nej! Du får komma in!
457 01:27:56,307 –> 01:27:58,821 Vem är du?
458 01:28:01,312 –> 01:28:03,906 Samma som du.
459 01:28:04,482 –> 01:28:06,234 Vadå?
460 01:28:06,443 –> 01:28:11,597 Vad glor du på? Va?
Är det mig du glor på?
461 01:28:13,742 –> 01:28:16,495 Skrik, då! Skrik!
462 01:28:19,664 –> 01:28:23,703 Det var det första
jag hörde dig säga.
463 01:28:27,172 –> 01:28:30,926 Jag dödar inte folk.
Nej.
464 01:28:31,217 –> 01:28:37,929 Men du skulle vilja. Om du kunde.
För att hämnas.
465 01:28:38,350 –> 01:28:42,138 Eller hur?
Jo…
466 01:28:42,437 –> 01:28:46,191 Oskar, jag gör det för att jag måste.
467 01:28:48,860 –> 01:28:51,772 Bli mig lite…
468 01:29:14,928 –> 01:29:20,127 Snälla, Oskar, bli mig lite.
469 01:29:36,116 –> 01:29:39,426 (MUSIK)
470 01:30:13,653 –> 01:30:16,850 Du kan låna en klänning av min mamma.
471 01:30:46,936 –> 01:30:49,370 (DÖRRKLOCKAN)
472 01:30:51,191 –> 01:30:54,706 Oskar, kan du öppna?
473 01:30:58,782 –> 01:31:06,097 Kan du öppna? Vad gör du därinne?
Ja, jag kommer. Jag sitter på toa.
474 01:31:06,539 –> 01:31:12,057 Öppna nu. Jag står härute med mat
och jag hittar inte nycklarna.
475 01:36:33,950 –> 01:36:37,499 Fan, man ser ju inget.
476 01:36:37,787 –> 01:36:39,778 Nej!
Va?
477 01:36:47,672 –> 01:36:49,867 Släpp!
478 01:36:51,051 –> 01:36:53,519 Släpp, för fan!
479 01:36:57,307 –> 01:36:59,980 Aj! Aj!
480 01:37:14,199 –> 01:37:17,555 (RÖSTER FRÅN ANDRA LÄGENHETER)
481 01:37:17,827 –> 01:37:20,785 (BULTANDE I TAKET)
482 01:37:40,433 –> 01:37:42,185 Tack.
483 01:37:47,190 –> 01:37:49,420 Oskar…
484 01:37:53,780 –> 01:37:56,533 Jag måste åka.
485 01:38:36,781 –> 01:38:39,420 (BULTANDE I TAKET)
486 01:38:47,167 –> 01:38:49,886 (HENNES ORD DRÄNKS I MUSIK)
487 01:41:13,605 –> 01:41:16,517 (TELEFONEN RINGER)
488 01:41:27,702 –> 01:41:31,012 Hallå? Oskar, är du där?
489 01:41:31,289 –> 01:41:34,167 Ja.
Tja. Det är Martin.
490 01:41:34,417 –> 01:41:39,093 Magistern undrade om du skulle
komma på träningen i kväll.
491 01:41:39,422 –> 01:41:45,611 Hur så?
Vet inte. Han bara undrade.
492 01:41:46,012 –> 01:41:51,848 Kanske ville att du skulle komma.
Jag vet inte.
493 01:41:52,227 –> 01:41:58,700 Du, förresten, det var bra, det där
du gjorde mot Conny. Han behövde det.
494 01:41:59,150 –> 01:42:01,869 (Fan, vad bra han spelar.)
495 01:42:02,112 –> 01:42:04,228 Tycker du?
Ja.
496 01:42:04,447 –> 01:42:07,564 Men du kommer väl
på träningen i kväll?
497 01:42:31,391 –> 01:42:33,461 Bra, Oskar.
498 01:42:35,186 –> 01:42:36,585 Hej.
499 01:42:42,027 –> 01:42:43,506 Hej, Oskar.
500 01:42:49,242 –> 01:42:51,358 Hej.
501 01:42:51,578 –> 01:42:55,332 Nu börjar vi med vattengymnastik.
502 01:43:07,093 –> 01:43:10,210 Skynda dig nu, då.
503 01:43:22,359 –> 01:43:29,231 Kom igen, Oskar. Vamos, vamos!
Uno, dos, uno, dos. Ta i ordentligt.
504 01:43:39,167 –> 01:43:40,680 Va?!
505 01:43:59,062 –> 01:44:01,781 Ring brandkåren! Det brinner!
506 01:44:23,920 –> 01:44:25,672 Stick!
507 01:44:26,715 –> 01:44:28,512 Ut!
508 01:44:32,929 –> 01:44:35,363 Flytta på dig!
509 01:45:06,296 –> 01:45:09,333 Vet du vem jag är?
510 01:45:09,591 –> 01:45:13,982 Ja.
Bra. Då fattar du.
511 01:45:14,304 –> 01:45:21,494 Vi ska ha en liten tävling nu.
Du stannar under vattnet i…
512 01:45:21,936 –> 01:45:27,613 …tre minuter. Fixar du det,
så gör jag bara en liten rispa.
513 01:45:27,984 –> 01:45:33,138 Fixar du det inte så…
sticker jag ut ena ögat på dig.
514 01:45:33,490 –> 01:45:37,722 Ett öga för ett öra, va? Okej?
515 01:45:38,036 –> 01:45:44,145 Men… men det går ju inte.
Det är ditt problem.
516 01:45:56,179 –> 01:45:58,898 Tre minuter.
517 01:46:00,308 –> 01:46:03,664 Passa på att andas.
518 01:46:03,937 –> 01:46:11,207 Fem, fyra, tre, två, ett.
519 01:46:49,774 –> 01:46:51,924 Jimmy.
Håll käften!
520 01:46:52,610 –> 01:46:56,569 Conny, vi sticker.
Håll käften, sa jag.
521 01:48:06,935 –> 01:48:10,530 (SNYFTNINGAR)
522 01:49:20,967 –> 01:49:24,676 (KNACKNINGAR)
523 01:54:24,396 –> 01:54:27,354 (Textning: Marianne Marty)

Let the Right One In: The company of children by Matthew Krause

This piece was originally posted by Matt Krause on his blog on February 7, 2010. It has since disappeared from its original location. However, I had liked it enough to start a forum thread about it. Matt has kindly allowed me to repost his article here.


I was on one of those message boards they have on IMDb, where people can post topics and start online discussions about the movies they love. On a board devoted to the Swedish film Let the Right One In, which I and many others have dubbed “Twilight for grown-ups,” one of the adult men opened a thread where he admitted a strong attraction to actress Lina Leandersson, who plays the child vampire Eli and was herself 12 years old at the time of shooting. “I’ve never felt this before,” the man said. “Is something wrong with me?”

At once, other posters on the board called this man out, labeling him a pervert and a pedophile. I refrained from posting anything myself, but I do admit sharing the sentiments of the others on the board … at first. It was only when I reflected a bit on the film (which is one of my favorites) and the startling performance by Lina Leandersson that I began to at least appreciate what I believe the man meant to write but failed to articulate.

First of all, I cannot speak for an anonymous poster on a message board, but I can speak for myself. And before I turn my attention to the young Ms. Leandersson, let me explain what I find attractive when it comes to women in movies.

I am not really one to fall into the mainstream male’s obsession with sex goddesses. There are many actresses out there who are indeed beautiful, but I personally find few of them attractive in the sense that I lie awake pining for them. I am not aroused by actresses because of the way they look; I am instead aroused by the characters they play.

For instance, I’m not really turned on by Meg Ryan, although I do think she is beautiful, but I am extremely turned on by Sally Albright, the character she plays in When Harry Met Sally. I do not know Meg Ryan well enough to know if I would like her, but she is a talented attress and gives such a charming and honest performance in this film that I do feel that I know Sally Albright. As such, when I first saw When Harry Met Sally back in college, I actually pined for Sally Albright, wishing–nay, praying–that a girl like her would come into my life some day.

Who else has turned me on in movies?

I like Marion Ravenwood (Karen Allen) in Raiders of the Lost Ark. Ms. Allen is cute as a button anyway, but Marion is the kind of woman I’ve always found attractive–tough, resourceful, minimal bullshit, but not so strong-willed that she forgets how to be a woman (ironically, she is a lot like my wife). I always thought Indy was a schmuck for letting her get away, and one of the reasons I was one of the ten or so people who liked the most recent Indiana Jones movie was because Marion returned and Indy finally did right by her.

Who else?

Diane Freeling (JoBeth Williams) in Poltergeist. When her children are in peril near the end and her maternal instinct turns her into this primal creature sprinting down the hall to save her, I get chills all over my body.

Tracy Di Vicenzo (Diana Rigg) in On Her Majesty’s Secret Service. James Bond always has his pick of the most beautiful women in the world, but there’s something about Tracy that makes him want to settle down, and Ms. Rigg does a wonderful job of letting the rest of us see just what that “something” is.

Catherine Chandler (Linda Hamilton) in the TV series Beauty and the Beast. A smart, principled woman with reserves of tenderness that allow her to see past Vincent’s beastly appearance to the soul of a poet that lies beneath. I longed for a woman who saw me that way (and found her the day I met my wife). Sadly, Ms. Hamilton eschews her more feminine side as Sarah Connor in Terminator 2: Judgment Day, making me forget Catherine all to quickly.

Ilsa Lund (Ingrid Bergman) in Casablanca. There is no question Ingrid Bergman is beautiful, and I have enjoyed her in many, many films. Ilsa Lund is the only character she has played that I would like to have known personally, and I still get a bit weepy at the end of this film, sensing deeply just how great a sacrifice it is for Rick to let her go.

All of this goes to illustrate what I think is often overlooked in most sex symbols. When it comes to celebrities, we don’t fall in love with the people themselves; we fall in love with their personas. One of the reason I’ve never gotten all moist for Angelina Jolie as a sex symbol is because she hasn’t played a character that excited me sexually since Playing By Heart. Oh, I think she is gorgeous and extremely talented, and I admire her philanthropic spirit, but while I’ve liked many of her movies, she seldom plays a character I would want to date (although some of her characters might be my good friends). I like people and all of their intricacies. When I go to a movie, I am not paying just to see a certain actor or actress; rather, I am wagering the price of a ticket that I might get to experience that wonderful moment when a talented performer meets a well-written character and manages to make movie magic (something Meryl Streep seems to do almost effortlessly).

So … back to this issue of 12-year-old Lina Leandersson and the message board poster who found her so attractive.

Let’s get this much out of the way: Lina Leandersson is a lovely little girl. She turns 15 this year and is showing signs of blossoming into a beautiful young woman. But at this point, she is still an adolescent, and at the time she made Let the Right One In she was very much a child, a little girl.

I do not think our mysterious poster is harboring the thoughts of a pederast where Lina Leandersson is concerned. Rather, I think that Eli, the character she plays, touched something in his heart as it did mine, and like me he has found the character to be haunting and unforgettable. There is something very appealing about Eli and yet something very tragic, and that is what makes her so unique and Lina Leandersson’s performance so special.

For those of you who have not seen Let the Right One In, it is a love story of sorts between two lonely creatures: A 12-year-old boy named Oskar (Kare Hedebrandt) who is so brutally bullied at school that he retreats into homicidal revenge fantasies; and Eli, who appears to be a 12-year-old girl but is really a 200-year-old creature of the night (there is more to her than her vampirism, but that is one of the movies best-kept secrets). What starts out as a series of casual conversations in the playground outside their block flats grows into a cautious friendship, arousing within Oskar and Eli a hunger for human connection.

It must be stated that Eli is not a sexualized creature for reasons that go well beyond her vamprism. However, because of her unique situation, she has been forced to call upon her sexuality numerous times in order to survive. Although an immortal, Eli still has the same vulnerabilities as other vampires, such as not being able to come out in the daylight (she won’t sparkle like Edward Cullen; she’ll burst into flames). At the same time, she is still trapped in the body of a child. Finding a place to sleep and an adult to protect her is no easy task.

As such, when we first meet Eli, she is traveling with Hakan (Per Ragnar), a broken, withered old man with the kind of unhealthy appetites that might turn our stomach. Hakan clearly desires Eli (in the book, he believes he is in love with her), and Eli keeps him at bay with the promise of sexual favors provided he do her bidding. This bidding not only entails proofing their apartment from the sun and guarding Eli during the day, but also the unsavory task of stalking and murdering victims for Eli, draining their blood so she does not have to go on the hunt herself (the main reason for this is so that Eli will not go out and create other vampires, but when she is forced to do her own hunting, she violently twists her victim’s head off after feeding before she can infect the entire body).

As unsettling as this may sound, the film is actually quite beautiful, handling its more violent elements with grace and aesthetic distance while keeping its focus on this friendship between Oskar and Eli. Although she does awful things, Eli is not a monster but a fractured little soul who has forgtten how it feels to love and be loved. And although Oskar’s homocidal ideations are frightening at first, his eyes flicker with such loneliness that we realize he has not been lost just yet.

Let the Right One In resonated with me, and not just because I like horror movies. I found myself identifying with Oskar from the outset, sympathizing with him during his torment, longing to protect him from the evils of his life, and nodding with understanding when he stood alone in the playground, stabbing a tree with a knife and pretending it was one of his tormentors.

It was because of this connection that I totally welcomed Eli into the story. I saw Eli as Oskar saw her, and I sensed his great relief when he came to realize that there was another in the world who wanted to understand him. We have all craved this kind of intimacy in our lives at one time or another, but at the tender age of 12, that unsteady precipice before puberty, our desire for a connection is almost painful. I have friends I have known since grade school who all seemed so assured when we were Oskar’s age, and yet all of them have admitted that those years were marked by terror and loneliness.

What person wouldn’t be attracted to Eli? She is like that perfect invisible friend. When I was 12, I would have gone to the ends of the earth for someone like Eli to come into my life. In fact, while watching Let the Right One In, I was reminded of the scary stories my brothers told me when I was child, tales of a girl named Patty who had allegedly died in our house before we moved in and whose spirit now dwelt in our attic. Rather than being terrified, I imagined that Patty’s spirit would come down into my room at night to play with me.

That is what I thought when this film introduced me to Eli. Of course I was attracted to her, not as an unstable adult to a child, but as the fragile 12-year-old who sometimes still lives inside, a vulnerable little tike who would have loved to have a friend like Eli. As I said, I saw her through Oskar, and I sort of saw myself through both of them … an interesting idea as I think about it, because my most favorite passage of the book is about Oskar having a similar experience:

Eli turned her face to Oskar’s, said:

“I …”

Closed her mouth. Then pressed a kiss on Oskar’s lips.

For a few seconds, Oskar saw through Eli’s eyes. And what he saw was … himself. Only much better, more handsome, stronger than what he thought of himself. Seen with love.

For a few seconds.

There are fans of the book that find this to be one of the most beautiful passages they have ever read. It is many times more beautiful than anything I have read in Twilight. In a few short sentences, author John Ajvilde Linqvist illustrates what it is that attracts us to another, that in fact makes us love then.

We see our best selves through their eyes.

I saw myself as Oskar while watching this film, saw myself through Eli’s eyes, and felt that intense connection to her well after the film had ended. That, I think, is what the message board poster was trying to say. Not that he lusted after a 12-year-old girl and wanted to do awful things to her. But that he remembered what it was like to be 12 years old, to be alone, to feel advancing changes of puberty on the horizon, and to look at someone your own age, feel those first pangs of attraction, and wonder how it would feel if the two of you were friends.

That doesn’t mean he is a pederast. That means that where he was concerned, the movie worked its magic. And isn’t magic what we’re all looking for anyway?

Sympathy For Eli

A post on the forum (thanks cmfireflies :-) ) and a similar one at IMDB caused me to remember something that I had seen Tomas Alfredson say in an interview. Each of those posts basically asked how we could have sympathy for Eli. How could we identify with, and in fact root for, a monster that must kill in order to survive? We all know that Eli’s survival means that more people will die. How can we look past that? I started writing a reply to cmfireflies’ post, and it kept going and going. It finally became too long to be a forum post, so instead I made it into this page.

What I had recalled Tomas Alfredson saying on the topic of Eli was:

The film suggests that love is possible and everybody has a choice and the one character that does not have a choice is the vampire [Eli] because she has to kill to survive.

I didn’t realize it at the time I read that interview, but Eli is the only character in the film who is fully sympathetic. Except for Jocke, Eli is the only the only character whose character is not criticized by the film. And Jocke was basically just a Star Trek extra in a red shirt. Of all the thoughtless, cruel, and horrible things that we see done in this film, Eli is the only one who has no choice but to do them. Her survival depends upon her doing what she does. Everyone else chooses to be thoughtless, cruel, or horrific. Even Oskar at one point chooses to be cruel to Eli. Among the major characters of the film, and even most of the supporting characters, Eli is the one who seems the most worthy of our sympathy.

Let’s just run through the characters:

Gösta He witnesses Jocke’s killing, but he lets some neurosis keep him from reporting it to the police. In the film we are shown absolutely no reason for him to fear the police, yet still he cannot bring himself to report the death of his friend because he is afraid that they will treat him like a criminal.
Oskar’s Teacher I don’t believe that we are told the name of Oskar’s teacher, not even in the credits. This is because she is a minor character in both the film and Oskar’s life. Every bullying scene except for the one at pool takes places under the auspices of Oskar’s school. Perhaps Oskar’s teacher has not made any conscious choices to be oblivious to Oskar’s torment, but as Alfredson said, “All the scary activity is going on close to the grown-ups, but the grown-ups are turned away. The teacher is at the window, but she is doing something else.”
Mr. Avila The high school gym teacher and also apparently the physical fitness coach at the Bad. I beleive Mr. Avila came the closest of anyone in the film (other than Eli) to take an interest in Oskar. We see him personally spotting him when Oskar is lifting weights and personally leading Oskar’s water aerobics workout. Out on the ice, he is trying to keep an eye on Oskar to see how the confrontation with the bullies is going to play out. From his distance he doesn’t know the serious nature of the confrontation, but it would be natural to link it to Oskar’s new-found interest in physical fitness.

However, as with every other adult in the film, Mr. Avila’s head gets turned away by a distraction. Out on the river he is distracted by the little girl. At the pool side he is distracted by the fire in the dumpster. Even in the locker room he gets distracted from Oskar by a spilled bottle of shampoo.

Erik
(Oskar’s father)
He allows his drinking to push aside involvement in his son’s life (ignoring the debate about his sexuality). Apparently this is also the cause of his estrangement of from Oskar’s mother and has led to Oskar’s fractured family life. I know some people will claim that alcohol is a disease, an addiction – not a choice, blah blah blah. Nope. He chose his bottle over his boy.
The bullies The film has absolutely nothing good to say about any of them. Obviously they were choosing to bully Oskar. When Oskar stays after school copying a Morse code key, the bullies wait outside for him well after it has turned dark. This was not opportunistic bullying. They did not just bully Oskar because he happened to be to available. They chose to give up their after-school time in order to lay in wait for Oskar. Although I have seen LTROI fans claim that they should not have been murdered, I don’t think this qualifies them as sympathetic figures in the film.
Virginia Poor Virginia. She did not choose to become a vampire. She is perhaps worthy of some sympathy. Yet, after she turns why does she go to Gösta’s apartment? She was going there to nom him of course. After failing to find a frozen blood Popsicle where Jocke got killed, she then headed up to Gösta’s place. Once Gösta invited her in, without hesitation she headed straight for him – until she realized that there was someone else there. However the cats had read the script and they knew why she was there. Vampire or not, it is not easy to sympathize with someone who would choose to kill her friend for his blood. Perhaps this is what vampires do, but… not all vampires.
Yvonne
(Oskar’s mother)
Although she is Oskar’s primary caregiver she seems uninterested in Oskar or unable to manage becoming engaged in his life. She blithely accepts Oskar’s feeble explanation for the scratch on his face. When the school called after Oskar whacked Conny, she was only worried about how it will reflect on her. Oskar overhears her on the phone with Erik when she says, “Oh yes, they will blame us!” When Oskar comes in all she can do is put Oskar on the phone with his father. And when Oskar runs away from his father and disappears for a night, she allows him to walk past her and then slam the door to his room in her face. As a parent myself, I can say that she could have and should have chosen to be a better parent to Oskar.
Håkan Although he is devoted to Eli, his bungling renders his murderous help pointless. By forgetting the jug of blood, his murder of the boy in the woods has no benefit for anyone and in fact results in Jocke’s death. His poor choice of victims the second time results in his own demise. His desire to help Eli could be considered admirable. However it seems unlikely that merely enabling her squalid existence is the best help that he could offer her. Also, his jealousy of Oskar is hardly the result of any altruistic impulse. He evenuses Eli’s hunger to to keep her from seeing Oskar. Whatever the reason, he has chosen his devotion to Eli, and unlike Eli he has freely chosen the horror that must accompany her survival.
Lacke Lacke is the closest that any character in the film comes to being a sympathetic figure (besides Eli and Oskar). His best friend is killed by Eli. His lover kills herself because of Eli. However he is also pathetic. He apparently lives a life of idleness. He thinks nothing of urinating in public – as he is doing when we first meet him. He hangs around with a crowd of friends who can only muster one cigarette lighter between them. While Virginia is his lover, he not only takes her for granted, but he lashes out at her when she tries to console him in his grief at Jocke’s death. Worse still, he almost always carries with him the ticket for escape from this tawdry existence: his father’s stamp collection. If he could really sell it and move with Virginia to the country, why hasn’t he already done so? He has chosen to keep this pathetic life that he has.

He can’t even bring himself to try to kill Eli, although he has every reason to. He is standing there with the knife to her throat as she sleeps. Instead of following through, he chickens out and complains to himself that he can’t see what he is doing.* The film portrays Lacke basically as a bum without ambition or initiative – and he could better his life but he chooses not to.

Oskar Oskar is largely a sympathetic character in the film. The film opens by showing us his isolation from the world and goes on to show us why. Despite this, he is kind and generous with Eli during their second meeting even though she went out her way to brush him off at their first meeting.

However, even he shows the ability to choose cruelty when he senses that he has some power. In the “You Must Invite Me In” scene, Oskar is in the position of power because Eli has come to him. Further, Eli cannot come in unless he gives his explicit assent. Oskar engages in a cruel little power game typical of a twelve year old. More over, the person that he is cruel to is the only character in the film who has chosen to open up to him.

Also, his fascination with murder does little to encourage the audience to sympathize with him. Between his scrapbook and his knife fantasies, it is apparent that he would choose bullies’ deaths over asking his teacher, Mr. Avila, or his mother for help. Even so, the film and presumably the audience are sympathetic to Oskar. He is after all the story’s protagonist. The reasons for having sympathy for Oskar are no mystery

Which finally brings us to Eli. She is frozen forever at the age of twelve. She can’t even remember when her birthday is. Her survival depends upon hunting people and drinking their blood and then afterwards killing them. The film shows that even though she has been doing this for a long time, it still upsets her. She is the only character in the film who has her cirmcumstance thrust upon her. She is the only character who cannot choose another path (except for the path of suicide).

Let’s contrast Eli with the only other vampire that the film shows us: Virginia. When Virginia gets hungry she first goes looking for the blood of her dead friend, and then goes after the blood of one who is still alive. Eli on the other hand kept herself from nomming Oskar on the jungle gym even though at that point she was obviously very hungry. Oskar was barely an acquaintance – just someone who had shown her some unexpected kindness and generosity. Virginia later was revolted by her intention to nom her friend, and she chose to end her own life rather than find herself in that position again. However Eli did get herself into the same position again (in the basement) and was again able to keep herself from nomming Oskar, who now was her friend. Is it reasonable to expect Eli to make the same choice as Virginia? Can she be blamed for not making this choice – for choosing instead to live?

Eli has shown us that there are some things more important to her than her requirement for blood. She has retained more of her humanity through out her (apparently) long life as a vampire than Virginia retained in her first day as a vampire. How then should we not sympathize with little Eli? Despite the horror that is necessary for her survival, she is the only character in the film who is always shown to have the most humanity in her choices (within the bounds of her survival’s necessities). Of the characters we saw the film, which would you most like to entrust yourself to?

Once again, how then should we not sympathize with Eli?

 


* This is one scene where the Magnolia subtitles really altered the film for me. When I first watched the film, it was with the Magnolia subtitles. Lacke has the knife to Eli’s throat but he does not try to do anything with it. Instead he mutters something (but there are no subtitles to translate it) and he begins to uncover the window. I thought to myself, “Ah ha! He has seen what happened to Virginia and he knows that the light will kill Eli. He wants Eli to die in the same fashion that Virginia did. Lacke’s got a bit of smarts.” However when I finally got exposed to the theatrical subtitles (which do provide a translation for Lacke’s muttering) I realized that he wasn’t really having a good idea there. What he was really doing was chickening out. He was telling himself that he couldn’t bring himself to kill Eli because he couldn’t see what he was doing. The reality was that he couldn’t bring himself to kill Eli – period.

Sound Design In Let The Right One In

As I was watching Let The Right One In one day, I noticed a few things in the sound design of the film that I liked very much. I went back through and listened to the film – instead of watching it – and I found that as much thought seemed to go into the sound design as went into the dialogue or the cinematography.

Tomas Alfredson, the director, wants us to feel very close to Oskar. The film is a story told through Oskar’s eyes, and Tomas wants us to see what Oskar sees, feel what Oskar feels, and also to hear what Oskar hears. He and Per Sundström, the supervising sound editor, have crafted a soundscape for this film that grabs the viewer’s attention when it needs to, but otherwise provides a solid backdrop of verisimilitude to the images on the screen.

I put together some clips of the relevant portions of the film in order to illustrate the things that I want to talk about. I suggest that headphones be used to listen to the clips, as some of the audio features that I am describing are a bit subtle. Each clip also provides a small view of the accompanying video in order to give context what you are hearing. Also please note that if your web browser has JavaScript disabled, you will may have to click on the “Back” button after you play each clip to come back to the article.

Early on in the film, Oskar is in school, and he irks the bullies by speaking out in class. At about 00:08 into the following clip, just after Oskar speaks for the first time, you can hear someone click their tongue in disapproval, and then a sigh of exasperation. As the sigh is tapering off, you can see Conny, who is sitting directly in front of Oskar, tilting his head up a little bit, as though he is rolling his eyes. Then he turns around to give Oskar the look that we will later find out is a promise of torment. Tomas has us hear these things because Oskar too has heard them. At this point Oskar becomes less self-assured, and he just seeks a way to escape the attention he has brought upon himself. Then, as the clip finishes, the audio of the policeman speaking fades from the foreground and we can hear Martin, tapping his finger on his desk as he glares at Oskar. The film does this because Oskar’s attention has left what the policeman is saying and is focused on the unwanted attention that he is now receiving from Martin.

In the scene where Oskar is stabbing the tree, taking his imagined revenge upon Conny, it is the audio that gives Oskar and us our first hint that his new neighbor is stranger than he could imagine. In the following clip, at first the only sounds you can hear are those of Oskar himself: his voice, his feet in the snow, the knife on the tree. There is no wind, no traffic noise, nothing else. Then at about 00:13 into the clip you can hear a door open. Oskar is too wrapped up in his fantasy to notice it immediately, and we the audience are perhaps too wrapped up in the images we see to notice what we heard. Soon however, Oskar either senses someone behind him – or perhaps the sound of the door has finally seeped into his consciousness. When he turns, we can now see Eli perched atop the jungle gym. Apparently it was she who came out the door that we heard, and in the 10 seconds until Oskar turns around, she has crossed the snow and gotten on top of the jungle gym without making a single sound.

Then, at the end of Oskar’s first encounter with Eli, Eli turns and walks out of the frame. This time we hear her feet in the snow. Eli apparently walks back to the door, which we hear again, opens it, and goes inside. This door sounds identical to the door that we heard in the previous clip, which confirms for us that it was Eli’s door that we heard. Also, we can tell by the sound of the door that Oskar waits until Eli has gone inside before he has the courage to utter his come back, “Are you so sure that I want to be your friend?” (“Tror du jag vill bli vän med dig, då?“)

It was in the scene where Oskar gets whipped by the bullies that I first noticed how many interesting things were going on in the audio. As Martin takes the switch the from a sobbing Andreas, you can hear Martins feet in the snow. You can hear Martin breathing. You can hear Andreas sobbing. Oskar is standing there with his eyes closed, and these are the things he hears. Then you can hear the switch whistling through the air and as it hits, all of the sounds stop. They are replaced by a high pitched tone, like tinnitus. Tomas and Per have made our ears ring with the blow, just as Oskar’s ears must have been ringing.

After the bullies run off, the scene cuts to Oskar eating dinner with his mother. However, while we are still seeing Oskar standing alone in the snow, we hear him telling his mother that he got the cut on his face when he tripped on a rock. (This is called an “L cut” in the film industry, where the audio of a subsequent scene starts before the actual cut to that scene). We know that this a lie that Oskar is telling his mother, and by having us hear him say it while he is still in the school yard, the film implies that he is beginning to plan his lie then, before he even gets home.

In the scene where Oskar finally stands up to Conny and he hits him in the ear with the pole, I found that the audio changed my perception of what Oskar was feeling. After the blow, Conny falls to the ice screaming. Oskar stands over Conny and and it is not a straightforward task to interpret the expression on his face. It could be exaltation, or a sort of feral joy of the kill. It could be an adrenalin rush. It could be a bloodlust to match Eli’s – that he is wanting to strike again. As we are shown the shot of Oskar’s face, the screams start to fade into the background and Johan Söderqvist’s wonderful piece Oscar Strikes Back swells to the front of the audio. Then, at a pause in the music, in front of everything else, we hear Oskar give a little exhalation. It is a sort of sigh of release. This gave me the clue that what Oskar is really feeling here is freedom – freedom from the shame and fear and anger that the bullying had been breeding in him. The burden of fear that has characterized his existence has with that one blow been lifted from him. That one little sound in the audio opened the way for me to understand Oskar in this scene. This feeling of release floods through him, detaching him from his surroundings, and the sound design reflects this.

I was impressed with the sounds that accompanied Eli’s egg. The egg itself was 100% computer generated. Even so, the sounds as Oskar touches it with his finger and it falls to pieces work very well. First Oskar touches the top of it with finger – not just touches it but actually presses on it with his finger. There is a clicking sound that starts the process of the egg coming apart. Instead of this click coming when Oskar’s finger first touches the top of the egg, you see Oskar’s finger bend as it apparently applies pressure. Then comes the click. Then as the computer-generated pieces fall, the sounds of tinkling metal come in, quickly crescendo, and then tail off at a rate that is perfectly timed with what we are shown on the screen. Also, I thought the pitch of the sounds matched perfectly with what you would expect to hear from pieces of metal of that size. It was not only the sounds of the pieces bouncing off of each that sounded good, but the sounds of them landing on the box and the table matched perfectly with your eyes would tell you to expect.

The scene where Eli enters Oskar’s apartment uninvited is probably one of those most renowned scenes in the film. Lina’s performance is riveting, and the experience of watching something completely new and original being added to the vampire mythos is very engrossing – so much so that its is easy to overlook how much the sounds add to this scene. The thing that first drew my attention to the sound in this scene was the little popping, splashing sound that accompanies the first little spurt of blood from Eli’s ear. It sounds exactly right, and it is perfectly timed. Visually, nothing much happens for the first half of the clip, but you can hear Eli’s labored breathing and those sounds. Also you can hear a pounding sound that resembles a heartbeat. The sounds build the suspense, and they are so unearthly that you can’t wait to see what will happen. Then when Eli starts to bleed, the momentum of the scene picks and it is easy to get swept past the little popping sound because it does fit so well with the visuals.

You can easily imagine Oskar standing there with his “So what’s the big deal?” attitude. Then as he notices the intense look on Eli’s face, he starts hearing these things: the heavy breathing, the strange sounds. Then perhaps he starts hearing his own heart pounding in his ears as he realizes this situation is on the verge spinning out of control, going far beyond anything that he had ever imagined experiencing. In his growing alarm, his eyes jump wildly around picking up the details, the blood from her scalp, then from her ear, then from her eyes. As the camera flits around and shows us the details that Oskar’s eyes see, it is the sounds that tie the details together to give us a full picture of what is happening to Eli.

Feel free to turn your volume way up for this clip. I cut it right before Oskar shouts, “Nej!”, so that it contains no loud sounds. After you have listened to it, turn your sound off completely and watch the clip again with no sound. This illustrates dramatically just how much the audio carries the action of this scene – despite the compelling imagery.

In the pool scene, Tomas takes the technique of guiding our imaginations with the sound design a step further. Here, we hear sounds that Tomas has not already associated images with. Further, these sounds are kind of distorted. Oskar is underwater, and to put us underwater with him the sounds we hear are muffled and kind of “muddied up”. As the clip starts Oskar is being held under by Jimmy, who plans to also cut his face or poke out his eye when (or if) he comes back up. We are waiting for something – anything – to happen to save Oskar. Then we here the muffled crash, and the muffled shouting starts. Or is it screaming? Howling? From what we can hear under the surface we really can’t tell, but we know that something is going on around the pool. The dramatic but unidentifiable sounds build the suspense as we wait to see something happen. Finally we see someone’s feet pass through the water in front of the camera. It is accompanied by the first clear sounds – those of the feet being passed through the water, and then down the side of the pool. In contrast to the earlier sounds, the splashing of the feet can be heard with crystal clarity. This causes our ears to tell us that we are indeed under the water with Oskar. While our attention has been centered on the feet, once they leave the water we realize that the muffled howling is still going on. Something is still happening. Then the head splashes into the water, and it comes as a complete surprise. We could hear nothing of how it came to part company with the rest of Jimmy, but we can hear the splash it makes perfectly. Then there comes a muffled crunching sound and a subdued but clear splash as the severed arm drifts through the frame from top to bottom. We never really know exactly what happened above the surface (although I have my own theory), but then, neither does Oskar. His eyes stay closed the whole time.

Among people who have watched this film, even those who do not wind up being rabid fans of it will comment on how amazing and memorable the pool scene is. Due to the astute audio design, almost all of the action in this scene takes place in your ears and in your imagination and not on the screen.

The scenes where Eli attacks are when the sound design really comes to the fore. Although Oskar is only present in one of these scenes, the film’s use of sounds in the scenes that precede it lay the foundation for putting the audience in Oskar’s place when he does finally witness Eli in action. Tomas’ approach to the attack scenes its to not show the audience too much, letting us create our own images in our imagination. To guide our imagination along gruesome lines, Tomas and Per used an array of sounds that sound feral, animalistic, and borderline unnatural all at the same time. In an interview with the Swedish magazine Filter, Per mentions that Eli’s feeding sounds are a mixture of sounds (all processed and altered) from a frog, a deer, a camel, and a dog (or at least that’s what I can glean from the Google translation of the article). I’m not sure I can pick out which sound comes from which animal, but Per also mentions that some of the sounds were made by Elif Ceylan, slurping up a melon. This sound I can definitely recognize.

I have put together a montage of clips of Eli’s attacks. The sounds in this montage are a bit louder than in the previous clips, so if you have turned your volume way up, you may want to turn it back down for this. First we are shown the attack on Jocke, and we can see – at a distance – exactly what sort of things accompany these sounds. Then for the attack on Virginia, Eli pounces on her and they both disappear from site behind the top of the steps. After the shot changes and we are shown Lacke coming up the steps, there is a pan that only slowly brings Eli and Virginia into the frame, but because of the sounds, we already know what we are going to see. Then when Eli noms Lacke, we see her land on his back, but then we are shown nothing else of the attack. However, Tomas has already taught us what sort of images accompany the by-now-familiar sounds of Eli nomming. Between those sounds and the identifiable sounds of Lacke flailing against the bathtub, we can draw a pretty clear picture in our imaginations of exactly what is going on out of sight in the bathroom. We can hear what Oskar is hearing, and we can see what Oskar is seeing even though the film doesn’t show it to us.

Another place where Tomas used an L cut was near the end of the scenes out on the ice. While it doesn’t pertain at all to telling the story from Oskar’s point of view, it was still an interesting use of audio in the film. A chain saw is used to cut Jocke’s corpse from the ice. However, in the shot of the chainsaw actually cutting the ice (from a viewpoint within the ice), I think that an average viewer may not immediately recognize what they are seeing. I think that for this reason Tomas used an L cut to bridge from the previous shot to the shot of the chainsaw.

In the previous shot, we see Mr. Avila with the two young girls who have found something. He looks over, recognizes what he sees, and begins to hustle the girls in the opposite direction. As he is doing so, we hear the delicate closing strains of Oscar Strikes Back, and then out of nowhere the sound of a chainsaw starting up comes in. It seems so out of place that immediately gets your attention, and also you can immediately recognize what is making that sound. Nothing else sounds like that. It causes the audience to wonder what anybody could possibly be doing with a chainsaw at such a time and place. Then the shot switches to the chainsaw cutting the ice. Having already heard and recognized the sound, the audience is now anticipating seeing a chainsaw. Although the image may not be readily recognizable as a chainsaw cutting ice, Tomas has already tipped us off about what we will be seeing. In doing so, he managed to avoid having to explain any further the subsequent shot of the crane carrying the block of ice with Jocke’s body in it. With the L cut and that seven second long shot of the chainsaw in the ice, Tomas has told the entire story of the discovery of Jocke’s body. I thought this was a very clever and efficient method of storytelling using sound.

Finally, I wanted to make a comment about the basement scene. I think that viewers who don’t speak Swedish have likely missed out on a brilliant choice made by Tomas. In this scene, the song that plays on the tape player is called Försonade, which it was written and performed by Agnetha Fältskog (before she became a founding member of the pop group ABBA). I became curious about it and I sought out an English translation of the lyrics. I was struck by how perfectly the lyrics fit with what is going on in the basement scene – as well as with its aftermath. I put together a clip of the scene where the song is played and I added English subtitles for the lyrics. Once again, if you have turned your volume up to hear the subtleties of the previous clips, I suggest that you may want to turn it down for this clip.

No Redemption

I have been struck by how characters of Oskar and Eli changed, or more specifically didn’t change over the course of the film.

At the beginning we see each of them expressing a desire to change their life. Oskar wants to free himself from bullying by murdering his tormentors. He rehearses his knife attack on shadow victims and trees. Despite this fervent desire for most of the movie he is unable to muster the courage to resist the bullies. When the bullies whip him with a switch, we had just seen him walk past the window where the teacher sits inside. All he has to do is shout for help or even just cry out in pain and the teacher will hear him.

Then along comes Eli who encourages Oskar to resist, to defend himself. When we next see Oskar being confronted by the bullies, the planets have aligned in his favor. He has in his hands a weapon – the pole – and the bullies are threatening him with what amounts to a death by hypothermia. In this scene the pole is a surrogate for the knife, since it actually was the tool of a murderer. (In case you missed it, it was the same pole that Håkan used to push Jocke’s body under the ice). Also the bullies are hesitant to act as a pack against Oskar when the adults might see it. So Oskar is armed, presented with a mortal threat, and is faced with a single attacker. Whack! Conny gets it upside da head. As Eli later comments, “Hooray!” Oskar has now had his redemption. Oskar has now come of age.

However the film doesn’t give us such a trite answer. Later we see Lacke standing over a sleeping Eli with a knife to her throat. Oskar is holding an unsheathed knife and Lacke’s back is to him. Indeed, Lacke doesn’t even know that Oskar is there. Possibly Oskar did not see that Lacke held a knife, but he is still unable to bring himself do anything about it. He can only call out when Lacke starts to uncover the window, and when Lacke turns and tosses down his knife, Oskar can only start to back up. Once Eli awakens and is taking care of her own defense, Oskar averts his gaze and pointedly throws down the knife. His redemption has been an illusion. He has not come of age. Afterward he loses interest in his scrapbook of murders. By the time he gets to the pool scene he is not only passive towards the bullies, he is now compliant. He is still the same Oskar that we met at the beginning of the film, only now he has lost his fantasy of murderous redemption.

As we meet Eli in the beginning of the film, we find that she has an adult helper who goes out to kill for her. However he bungles the first task we see him attempt, so that Eli has to go out and hunt for herself. She preys upon Jocke and then sobs after she kills him. Apparently she has wanted to distance herself from the killing that makes her survival possible. As Oskar has wanted to release himself from his miserable life by becoming a killer, so Eli has wanted to release herself from her miserable life by forsaking killing.

However the film shows us that she cannot escape who she is. The next time we see her prey upon someone it is her helper, Håkan. He has failed her for the last time. She goes out of her way to find him at the hospital, and the unavoidable conclusion is that she went there specifically to end his life. When she kills Håkan, perhaps out of mercy, perhaps to protect herself from discovery, she does not seem to display any emotion at all. She recognizes the necessity of the killing, whatever her feelings in the matter.

And the time after that when we see her prey upon someone – Virginia – she seems unable to stop herself after to Oskar unknowingly triggers her blood lust. When Lacke kicks her off of Virginia’s back, instead of sobbing Eli seems dazed and unaware of exactly what has happened. Eli has not managed at all to distance herself from killing. Killing is both a necessity of her life and a necessity of her nature. When she is finally threatened by Lacke, she must not only kill but kill in front of Oskar. Now they both know that they have failed in the change they sought, the change that was each’s hope for an improved existence.

Now we get to the pool scene, where each seems to revel in their unchanged state. Oskar is more the target of bullies than ever. Eli has no Renfield to use to distance herself from her prey. In fact here at the poolside Eli is more of a killer than ever, even a wanton killer. She kills not because it is necessary to her survival. Arguably she doesn’t even need to kill any of the bullies in order to secure Oskar’s survival. She does not even feed on any of her victims. Instead she kills all three of the participating bullies, even going so far as to dismember one. So despite the desire for change that we saw in each character at the beginning of the film, here at the end we see that neither has changed. However, unlike at the beginning of the film neither is miserable. They are happy at the end of the film, and somehow Alfredson has seen to it that we the audience are happy as well.

Is this then the message (or at least a message) of the film? Their misery stems not from their circumstances but from their isolation, their loneliness? Now that they each have a companion, whatever that companion’s misery, happiness for each is still possible?

The Pool Scene

The final scene at the pool has been the topic of much discussion. Many people have put forth scenarios of what happened above the water, but none of them really ever seemed to fit what we are shown on the screen. I felt that a good explanation should fit with the positions where all the characters were before it all started, what we can see in the water, and where all the bodies ended up afterward. Also, the timing of the events that we do see from under the water should also be taken into account. It wasn’t until I started wondering what Eli was thinking from moment to moment during this scene (as part of a little fiction project) that things finally started to make to sense to me.

At about the time that Eli shows up, Oskar is in the pool and the bullies are arrayed along the pool’s edge, roughly like this:

Now when Eli crashes in, it is reasonable to presume that she would first go after Jimmy, since he is the one ostensibly holding Oskar’s head under the water. So the first thing that happens is that perhaps Jimmy gets his neck broken. Whatever Eli did to him it was apparently fast and instantly lethal, since the arm that he had in the water didn’t even seem to move.

This wouldn’t take Eli very long at all. It literally should take Eli only one or two seconds at most to accomplish this once she is within arm’s reach of Jimmy. Then with just a step or two she can do the same to Conny. Presumably she recognized Conny by the big bandage on the side of his head. Conny also would take only a second or two to have his neck and/or back broken. From the aftermath that film shows us, it looks like either or both could have befallen Conny.

For longest time I couldn’t figure out why we should be seeeing Martin’s foot passing in front of the camera from right to left. When things were starting, Martin was already on Jimmy’s left. Why would Eli take Martin over to the right, only to bring him back to the left dragging his foot through the water? How did he get over to Jimmy’s right? My spouse finally pointed out something that in retrospect seems obvious: Martin bolted for the door. When things started happening, Martin must have headed for the exit. Unfortunately for him, to get to the door he had to go by both Jimmy and Conny (or whatever was left of them) and also he would have had to get past Eli. And as we know, he didn’t get past Eli. I believe that once Eli had spent those few seconds dealing with Conny she would have had plenty of time to grab Martin as he went by. She may have recognized Martin from her previous visit to the pool, but any case she would have known to grab him since he had been standing there beside Jimmy.

So Eli grabs Martin and takes him for a little ride. Presumably during the ride Eli is doing something to convince Martin to be still, because his feet stop kicking before they leave the water.

Now, at this point I believe that Eli is surprised that Oskar has not come up from under the water. I suppose she believes that Jimmy is still holding him down. So now she comes back to Jimmy and off comes his head. She has even less use for Jimmy’s head than Jimmy does at this point, so she tosses it into the pool (and fortuitously it lands within the frame ;-) ).

Eli waits a second but Oskar does not come up. Now off comes the arm. Eli waits another second or two and still Oskar does not come up. Now she reaches down and pulls him to the surface.

Smiles all around.

(Well, maybe not for Andreas.)

Discuss this article in the forum.

US DVD Subtitles – Fixing Them

I learned how to replace the subtitle track on my US Let The Right One In DVD by following this tutorial. However that tutorial is about performing this task on any DVD, and to get it right for my DVD it required a little bit of trial and error. I thought people might appreciate a tutorial specifically for the US Let The Right One In DVD. Hopefully with this tutorial available people will go ahead and buy whichever version of the DVD they can find without waiting to find the one with the theatrical subtitles.

The first step is to get yourself a US Let The Right One In DVD. The second step is to download the following programs and the srt subtitle file (all freeware):

The next step is to create a few folders on your hard disk. These folders will be used to store things at various stages in the process. The following are the folders you will need and the approximate amount of disk space they will eventually require:

Original (this folder is optional) 5.41GB
Demuxed 4.16GB
Remuxed 4.25GB
Reauthored 5.36GB
Total free space required 19.18GB

If you want to save some space you can skip making the Original folder, which will reduce the free space requirement to 13.77GB. This will also make some processing steps take longer because reading things from the DVD is slower than reading them from your hard disk. The tutorial assumes that you will not create this folder. However if you do choose to create the Original folder, your next step would be to copy the contents of the VIDEO_TS folder at the top level of the DVD file structure to your Original folder. When following the tutorial, whenever it talks about finding a file on the DVD, you will instead find it in your Original folder.

Unzip and run PCGDemux. When you have launched PCGDemux the first thing to do is to click on the “Browse” button in the input IFO field and navigate to the drive containing the DVD.

You want to select the VTS_02_0.IFO in the VIDEO_TS folder at the top level of the DVD file structure.

In the “Output Folder” section click on “Browse’ and select the Demuxed folder that you just created. In the “Mode” section select “by PGC”. In the “PGC Selection” section under “Domain” select “Titles”. If you have selected the right IFO file the window should display “PGC # 01 -> 01:54:29.26″. In the “Options” section make sure that only the following boxes are checked:

  • Demux video stream
  • Demux all audio streams
  • Demux all subpic streams
  • Create CellTimes.txt

Now click on “Process!” and let it crank for a bit while you go grab yourself a beverage or surf the web. When you come back, you should find the following in your Demuxed folder:

If you are feeling cautious then rename the file “Subpictures_20.sup” to something like “Subpictures_20.sup.old”. Otherwise you can just delete it.

Next install and run SubtitleCreator. Go to the File menu and select “Open text subtitles” and choose the Let.the.Right.One.In.srt file. Go to the File menu and select “Open palette (IFO, …)” and choose the same IFO file from the DVD as you did earlier (the VTS_02_0.IFO in the VIDEO_TS folder on the DVD):

Now the window of SubtitleCreator should look like this:

If you don’t happen to be as enamored of Ashley Judd as the program’s author, just remember that the program is free. One other thing to note is that SubtitleCreator doesn’t understand ASCII characters with diacriticals. If you look at subtitle number 5 in the SubtitleCreator window, the last word should be “Ångby” but instead it is a bit garbled. The subtitle will appear on the screen garbled this way as well. As far as I know, the only words in the subtitle track with diacriticals are “Ångby”, “Vällingby”, and “Gösta”. These words will be garbled on screen. Once again, just remember that the program is free. If this really bothers you, you can open the Let.the.Right.One.In.srt file in Notepad or some other text editor and change the diacritical characters to their plain ASCII equivalents before you load the srt file into SubtitleCreator.

Now go to the “Synchronize” menu and select “Convert frame rate”. In the “Convert frame rate” window enter 24 on the “from” side and 24.00337 on the “to” side then click “Apply”. Next go back to the “Synchronize” menu and select “Set time delay (+/-)”. in the “Set Delay (+/-)” window enter “+00:00:01,686″ and click on “Apply”. Go to the File menu and select “Save SUP as…”. Navigate to your Demuxed folder and save the SUP file there as “Subpictures_20.sup”. If all goes well you should see the following message:

The next step is to run Muxman. The Muxman window looks like this:

In the “Video” section click on the “…” button and choose “VideoFile.m2v” from your “Demuxed’ folder. In the “Audio” section, first make sure that “Stream:” is set to 1. Click on the Audio section “…” button and choose “AudioFile_80.ac3″ from your Demuxed folder. In “Language:” select “Swedish sv”. Click the up arrow in the “Stream:” field so that 2 is selected. Go and choose “AudioFile_81.ac3″ from your Demuxed folder and select “Swedish sv” as the language. Repeat these steps for Audio streams 3 & 4 according to the following table. When you have finished all four, scroll back through them and compare the settings to this table:

Stream File Language
1 AudioFile_80.ac3 Swedish sv
2 AudioFile_81.ac3 Swedish sv
3 AudioFile_82.ac3 English en
4 AudioFile_83.ac3 English en

In the “SubPictures” section do very much the same thing. First make sure that “Stream:” is set to 1, then click on the “…” button and choose “Subpictures_20.sup” from your Demuxed folder. In “Language:” select “English en”. Click on both the “LB” and “Wide” buttons so both are selected. Then repeat these steps for Subpicture streams 2 & 3 using the settings from the following table:

Stream File Language
1 Subpictures_20.zip English en
2 Subpictures_21.zip English en
3 Subpictures_22.zip Spanish es

At the bottom in the “Destination folder:” section click on the “…” button and choose your Remuxed folder. Finally, go to the “File” menu and select “Import Chapter”. Choose the “Celltimes.txt” file that should have been created in your Demuxed folder. These were a lot of settings to make, so if you are feeling conservative, go to the “File” menu and select “Save Project” to save these settings off to a file just in case for some reason you need to repeat remuxing. Then click on “Start”.

Once Muxman has completed its work, open the VobBlanker program. In the “Input Video Manager” section click on the “Browse” button and choose the file “VTS_TS.IFO” in the VIDEO_TS folder of the DVD. At this point the VobBlanker window should look something like this:

In the “Output Folder” section click on the “Browse” button and choose your Reauthored folder. In the “TitleSet” section click on the row of the TitleSet “VTS_02_*.VOB”. Down below in the “PGCs in Selected TitleSet” section a row beginning with “01 OneSeq’ should appear. Click on that row to select it. Now click on the “Replace” button and choose the “VTS_01_0.IFO” in your Remuxed folder. Here also it might be a good idea to go to the “File” menu and select “Save Project as” and save these settings to a file in case you need to repeat this step. Now click “PROCESS!!”. VobBlanker will chew on all of this for quite a while – depending upon the speed of your computer. When it is done, the “Process Log” window should look like this:

If everything went well, you should now be able to go to your Reauthored folder and play the movie with a DVD playing program like vlc or GOM Player. To check that the subtitles are correct, go to the time in the film around 00:13:08 and Eli should say that she lives right there in the jungle gym. If the subtitles look good then you are almost done. The contents of your Reauthored folder look like this:

The final step is to burn the contents of the Reauthored folder onto a blank DVD. I do not know of any freeware program for doing this, so you will have to buy Nero, or Toast, or some similar program. When you burn the DVD, you need to create two folders: AUDIO_TS and VIDEO_TS. The AUDIO_TS folder should be empty, and the VIDEO_TS folder should end up with the contents of your Reauthored folder. If I am not explaining this well, just go and look at the file structure of your original DVD.

That’s it. Now you have a DVD with the theatrical subtitles. In fact, you can now even customize the subtitles to your liking. If as I do you prefer Magnolia’s translation of Eli’s note to the theatrical translation, all you have to do is make that change in the srt file with Notepad and then repeat this process. Easy.

A Tale Told By Hands

Introduction

I had always liked the way that JAL’s screenplay played with the idea of portals becoming barriers and barriers becoming portals. In the very first scene we see Oskar reflected in his window, an image of the lonely boy superimposed upon the world beyond the window. The window holds them separate. In this shot we see that the window, which should be a portal to the world, instead acts as a barrier. Soon after we see Oskar putting his hand against the window, reaching out for the world that he can see but not touch.

Juxtaposed to this, the screenplay also turns a barrier into a portal. The wall of Oskar’s room, intended by its builders to be a barrier to keep the world out, instead becomes a portal. It becomes the only channel that this lonely boy has out of his isolation. He reaches through the wall to contact his new sort-of-friend who has moved in next door.

I thought this theme of reversing the roles between the wall and the window was interesting, so I sat down to watch the film yet again (as if I needed an excuse) to look specifically at how this theme was played out. What I found instead was a much more interesting theme. The wall and the window could not play their roles alone – it was the hands that gave them their new meanings. I noticed hands are frequently given prominent positions on the screen. I came to believe that this visual theme was used to symbolize human contact. As we know from the film, human contact is not always a good thing.

Now that I could see how the window stopped Oskar’s hand from touching the world, I watched further to see how else this could be a story told by hands.

Oskar & Eli

Second Meeting

It is in the scene of Oskar and Eli’s second meeting on the jungle gym where the film really introduces the visual theme of the hands telling a parallel story. Eli is hungry. She wants to nom Oskar, but also she is interested in him and doesn’t want to hurt him. When she first shows up behind Oskar, she is undecided about what she will do. When she becomes interested in the puzzle, Oskar holds it out and offers it to her. At this Eli pulls back. She does not want to have human contact with Oskar, but this is what he is offering her.

However she relents and takes the Rubik’s Cube from Oskar’s hand and the film makes a point of showing us this token of human contact passing between them.

In fact as the cube is handed back and forth between them in this scene the film makes a point of showing this contact back and forth, from hand to hand…

Finally to close out the scene Oskar leaves. Oskar is now out of danger. He has perhaps made it through this encounter with Eli simply because he offered her that human contact. After he leaves, the film gives us a clue to this.

In the next shot, instead of showing us Eli’s pained, hungry face, the film instead first shows us her hands. Her hands are gripping tightly the Rubik’s Cube, the token of her human contact with Oskar. The film is showing us that although it has cost her, Eli has held on to her humanity by not feeding upon Oskar.

After his second meeting with Eli, the film shows us that Oskar is not just interested in Eli, but he is desperately interested in Eli. Once again we get an image of Oskar with his hand on a barrier, but this time it is not the barrier between him and the world outside his window. Now it is the barrier between him and Eli. The film goes so far as to obscure Oskar’s face with his hand, and to intentionally pull focus from his face to his hand. The film does not want us to miss the story now being told by Oskar’s hand: That Oskar’s main interest is no longer contact with the world outside of his window. Oskar is now interested in contact with his new acquaintance.

When Oskar heads out the next morning, before he exits his building the film once more uses the image of his hand on glass to remind us of the barrier of loneliness that isolates him from the world. This time however the barrier does not stop him. He opens the door and goes out to find that the Rubik’s Cube has been left on the jungle gym. The cube has been solved, signaling to Oskar and to us that Eli has not just immediately cast it aside, but she has spent time pondering it and in fact has appreciated it. Eli has accepted this offer of contact from Oskar. The film shows us Oskar’s hand holding the completed cube not just that once, but again as Oskar is in school. By showing us the image of Oskar’s hand on the door and then having him open the door and pass through it, the film is using this parallel story told by hands to let us know that Oskar has broken out of his isolation. His loneliness is at least now not absolute.

Third Meeting

By the time of their third meeting, Oskar and Eli are ready to find out about one another a little bit. When Oskar discovers that Eli does not get birthday presents, he offers her his sympathy, once again in the form of the Rubik’s Cube. The film makes a point of showing his hand extended with the cube, but Eli’s hand does not enter the frame.

Eli refuses the cube. This is not the contact that she wants. She doesn’t want Oskar’s sympathy or pity. Instead the conversation turns explicitly to the cube itself and Oskar marvels at her ability to solve it. When Oskar mixes up the cube and once again extends his hand to Eli, this time the film shows us their hands exchanging the cube.

Now Eli takes the cube without hesitation. This is the contact she wants. This is about her interests (in puzzles) and her abilities. This is not about Oskar’s pity for her situation. This is about Oskar’s interest in her. It is on this basis that she accepts contact with Oskar.

Fourth Meeting

At Oskar and Eli’s fourth meeting, the film has absolutely no qualms about presenting the visual theme of hands.

As the scene opens, literally Oskar’s hand is conversing with Eli’s hand as he explains the Morse code to her. The first thing the film shows us is not a shot of their faces, but instead a shot of their hands.

Next the film shows us Oskar’s hand passing the Morse code key to Eli’s hand. Now all of the pieces are in place to turn the wall of Oskar’s room into a portal, a channel to contact with Eli. Now their hands have become not just a symbol of contact but also of communication.

Then comes first moment of real, physical contact. Eli is exhorting Oskar to fight back against the bullies and she offers to help him. As she does this, she touches Oskar’s hand and again we see another image of just their hands.

This time it is Oskar’s turn to pull back. This is not the contact that he wants. He also does not want pity, and even less than that does he want to feel like he needs a girl to stick up for him. Oskar pulls his hand away and gets up and walks out of the frame. After Oskar has left the frame, we are left with a picture Eli sitting by herself on the jungle gym, and centered in the frame is her empty hand.

However, Oskar was not rejecting Eli altogether, he was just rejecting her offer of help. Just as Eli had in their earlier meeting, Oskar was rejecting the contact born of pity. He is still interested in her. Oskar makes this clear by urging her to follow him.

Now that Oskar has spent some time with Eli and has given her the Morse code key, the barrier has been transformed into a portal for contact. We see an image of Oskar’s hand on the wall, once again the hand obscuring his face and the wall – even though it out of focus – takes up almost two thirds of the frame. And now instead of being stopped by the barrier of the wall we see the hand reaching through the wall and touching Eli, via the Morse code. Oskar is Morsing a mundane, albeit sweet message to Eli: “SOV GOTT”, which is Swedish for “SWEET DREAMS”. However it does not really matter what the message is. The barrier that consumes over the half the screen has become a portal.

The Candy Scene

By the time of the candy scene Oskar and Eli’s relationship has progressed quite a bit. Now Eli is willing to do things to please Oskar that she would not otherwise be inclined to do. She accepts Oskar’s offer of candy, and then rejects it in the most literal fashion. Oskar hugs Eli, and the camera shows us a view of Oskar’s face and Eli’s back, and then it pans down to shows us Oskar’s hands encircling Eli. Here the tale told by Oskar’s hands has become much more straightforward. Oskar is displaying real caring for Eli and a certain amount of increased intimacy. He has seen that she is willing to do things to please him even though there is a real cost for her.

The Bed Scene

In the latter half of the bed scene, we see Eli’s hand re-enact the conversation that she has just had with Oskar. After Oskar has fallen asleep, the film shows us a shot of Eli touching Oskar’s shoulder with her fingertips. The film made a point of focusing on her hand while leaving her face out of focus.

This hesitant touching seems to be mirroring Eli’s earlier hesitancy about accepting a change in the status of her relationship with Oskar to that of boyfriend and, umm… girlfriend. Then, as she examines the idea, she becomes more amenable to it.

Eli’s hand portrays this by slowing sliding down Oskar’s arm to his hand. The shot now widens to keep Eli’s face in the frame at one side and Oskar’s hand in the frame at the other. Eli’s face is now in focus, and we can still see traces of Håkan’s blood on it. In this one shot we see Eli’s hand making the journey that Eli herself is making: from lonely vampire to human contact.

Finally Eli’s hand reaches Oskar’s and she intertwines her fingers with his. They are together.

At the end of the scene the camera leaves us with an image of Eli caressing Oskar’s hand with her thumb as their fingers are intertwined. The symbolism is so obvious that is barely recognizable as symbolism.

Oskar At The Pool

In the scene at the pool, we are presented with a shot of Eli outside the Bad standing at the window. She is watching Martin talking to Oskar when he is in the pool. Once again there is an image of a hand on a barrier. It could almost seem that although she is together with Oskar, the film is trying to tell us that she feels separated from him when he is off in his regular life.

However, when Eli pulls her hand away, we can see fuzzily through the window that her hand had been covering Oskar. This is rather symbolic and is a nice little bit of foreshadowing. While Martin is trying to interact with Oskar, Eli’s hand is on Oskar. The barrier that is being symbolized here is the barrier (of death) that Eli later puts between Oskar and the bullies.

The Basement Scene

In the basement scene Oskar’s hand now takes center stage. However, it does not get the extended close-up treatment that hands have elsewhere in the film, except where it is necessary to show us the blood dripping from it. I did not get the sense that the basement scene was continuing the visual theme of hands symbolizing contact and barriers. Although Oskar cutting his hand is symbolic to Oskar, it does not seem to be visually symbolic of any sort of contact or lack of contact. Sometimes a cigar is just a cigar. It is in fact part of a different theme; the theme of the knife, but that is an entirely different topic.

Eli’s Glass Door

In the director’s commentary, Tomas Alfredson has this to say during this scene:

“Your body language also expresses your attraction to someone, you start mimicking their movements. So that’s also an underlying thought in this scene.”

I think he actually went a little bit further with the visual theme of hands and barriers. As Oskar and Eli talk through the door, Eli puts up her hand on the glass.

When Oskar matches the movement with his own, Eli then moves her hand, and Oskar’s hand follows. Then Eli puts her other hand on the glass and Oskar mimics this movement as well. It is as though Eli is testing whether Oskar really wants to be in contact with her, while at the same time pleading with Oskar to want that contact. She puts her hand up to the glass barrier, inquiring whether Oskar wants to get through the barrier just as she does. The film so strongly wants to emphasize this that it actually obscures Eli’s face with her hand. However the subtle the visual theme of hands and barriers has been before, the film does not intend to allow us to ignore it here.

While Oskar and Eli are discussing her being a vampire, their hands are having an entirely different conversation. Eli’s hand is saying, “Do you really want to be with me?” and Oskar’s hand is saying, “Yes, I really want to be with you.”

This is the conversation that convinces Eli to open the door and let Oskar in. If you just listen to the dialog of this scene, you could be puzzled as to why Eli opened the door. It is the non-verbal dialog of the hands that makes us understand Eli’s decision to let the right one in. The poignancy of the two conversations, and the fact that they are both presented to us simultaneously, makes this an extremely compelling scene. By the laying the groundwork for this communication of the hands earlier, the film is able to use it to deliver an emotional hammer blow in this scene.

The visual theme of Oskar and Eli’s hands reached its culmination in the scene of the egg. It was here that I really felt rewarded for examining this theme. I watched as Eli’s hand pointed to the top of the egg, and then Oskar’s hand enter and touch the egg, causing it to unravel into a shower of pieces. After an uncountable number of viewings of this film I finally realized what the egg symbolized: the egg was Eli. By making contact – real human contact – with Eli, he has unraveled the mystery of her. By making contact with Eli he has pierced the mystery of what she is. Just as by touching the egg Oskar has caused its outer puzzle to fall away revealing the golden yolk inside, Oskar has touched Eli causing her outer shell of protective isolation to fall away.

Oskar now knows that she is a vampire, and through this realization he begins to understand the implications of her existence. The very next thing that Oskar notices is the collection of rings on the table, next to the pieces that formerly hid the center of the egg puzzle. There next to his hand Oskar finds the concrete evidence of the price of Eli’s survival. Oskar’s hand has finally brought him to a clear understanding of Eli.

As the scene progresses, it becomes clear that Oskar is uncomfortable with some of the things he has learned about Eli. Eli offers to help him by giving him money and in fact hands him some cash. The film does not show us Oskar’s hand taking the cash from Eli’s hand. Instead it shows Oskar’s hand placing the cash on the stove top. Oskar is rejecting this gift of money. He is having problems accepting the implications of Eli’s existence. He does not want to play a role in that aspect of Eli’s life.

As he confronts Eli, he advances and she retreats until she has crossed through the doorway. When he asks her where she got the money, her answer is an obvious falsehood. At that point she stops and the film shows us that she has hands on the door jam on either side of the door. Now there is a barrier coming between Oskar and Eli and once again the film is showing us an image of hands on a barrier.

Eli steps aside and lets Oskar pass and as he leaves the frame we are left with an image of Eli’s face, and behind her we see her hand still on the door jam. The film is pointing out with Eli’s hand that this barrier has popped up between them. Oskar’s discomfort with her being a vampire and perhaps also the lack of trust she shows by lying to him about the money has put yet another barrier between them.

You Have To Invite Me In

The final act in the story being told by Oskar’s and Eli’s hands is played out at Oskar’s apartment door. Having let Oskar in, Eli now needs to have his acceptance, so she knocks on his door in search of it. Oskar is still feeling uncomfortable with her being a vampire. Perhaps he is also irritated that she was not honest with him when he asked where she had gotten the money. When she tells him that he must invite her in order for to be able to enter, suddenly Oskar has a little feeling of power. He begins a thoughtlessly cruel game of the type that twelve years old play with each other all of the time, taunting Eli to come in without his explicit invitation.

This is Oskar himself putting up a barrier between himself and Eli. The film shows us a literal picture of him doing so when pantomimes pressing his hand against an invisible barrier in his apartment doorway. Eli breaks down this barrier with an act of trust. She enters the apartment anyway, trusting that Oskar will not force her to pay the full price for entering unbidden. Eli shatters this last barrier of Oskar’s. And so between the two of them this tale told by their hands has finally played itself out.

Virginia

Virginia is not destined to fair well in this film. Her purpose in the plot is to serve as a trigger to action for Lacke and also to provide a contrast versus Eli about how she deals with being a vampire. This being the case, her prospects were grim from the outset.

The fate that awaits Virginia is nicely foreshadowed in the scene where Virginia enters the Chinese restaurant and joins her friends. As she approaches the door, she pauses at the window and taps on the glass to her friends. In light of all of the symbolism that surrounds images of hands in this film, it is interesting that the film presents us here with an image of Virginia with her hand on the window. It is a small hint that something unpleasant is to come for Virginia.

After Virginia is attacked by Eli, the film moves to show us the effects of her transformation into a vampire. And the vehicle that it uses first to show us these effects is her hand – the same hand that knocked on the window. We see a close-up of her hand as the sun creeps though a gap in her blinds and shines upon the back of her finger. We see the finger char and smolder from just this small exposure to sunlight. This image both sets up and foreshadows Virginia’s ultimate fate.

Then later when Virginia is in the hospital, we see a shot of Lacke’s hand fingering Virginia’s wrist restraint. Here we see in the frame Virginia’s hand (the one that had been placed on the window) separated from Lacke’s hand by the restraint. There is indeed now a barrier between Virginia and Lacke, and in the fact the barrier separates Virginia from the rest of humanity. She is now a vampire. Immediately after this shot we learn that Virginia realizes at least part of what has befallen her, when she says to Lacke,

That kid… She must have infected me somehow.
I don’t want to live.

The restraint on Virginia’s wrist is symbolizing that she has now been barred from her old human life. She realizes that her humanity is being taken from her. This shot also shows that Lacke is pondering this new barrier as well.

Now when the orderly unlocks Virginia’s she has an opportunity to make a choice. Now she uses the hand that knocked the on the window, the hand that was burned by the sun, to reach out for a final human contact. The film shows her reaching out and grasping a hold of her humanity. Unlike Eli, she has decided that she cannot live without it. Although the film has shown us that Eli very much desires human contact, for Virginia it is a necessity. She has chosen to keep a tight grip on her human life even though it will consume her.

As Virginia meets her horrible fate we see her hand waving about, engulfed in flames. Having her hand be free was a natural result of the plot up to this point, so it is unlikely that this shot was specifically intended to put an exclamation point at the end of the story told by Virginia’s hand. However it provides such a nice end cap the symbolism of her hand that I just could not ignore it.

Lacke

Lacke too takes part in symbolic use of hands, although with him the symbolism seems to be much less complex and evocative. It has already been mentioned how is hand toying with Virginia’s wrist restraint symbolized his contemplating the barrier that Virginia’s vampirism placed between him and her. Symbolically he was touching Eli, who had put the barrier of death between he and Jocke, and then between he and Virginia.

When the crowd of, umm… locals was looking around site where Gösta saw Eli kill Jocke, they discover fresh blood underneath the snow. The film presents us with a shot of Lacke’s hand covered with blood. This is his last contact with his friend Jocke. It is also his first contact with Eli. Further, it is not the last time we will see Lacke’s hand covered with blood. This shot foreshadows Lacke’s fate in the film.

Later when the… locals are in Gösta ‘s apartment, Lacke is urging Gösta to go to the police with what he has seen. Lacke wants someone to look into the apparent death of his friend. Lacke uses his hands to describe how close he and Jocke were. Here perhaps the film is also telling us how close Lacke is to sharing in Jocke’s fate.

When Lacke finally meets up with Eli, he also meets up with his ultimate fate. The hand that had symbolically touched Eli in Jocke’s blood has now touched the actual Eli. We once again see his same hand, once again bloody, only this time it is covered with his own blood. Now his fate is as close to his friend Jocke’s as his hands were to each other in the scene in Gösta’s apartment.

Håkan

Although we don’t literally see Håkan’s hand on a window, the film still finds a way to weave him into a theme of hands and barriers.

As Håkan and Eli move into their apartment, we see a shot of Håkan from outside their apartment window. Instead of having Håkan’s hand on the window, instead the film shows us an image of someone else’s hand in the window – a hand in a rather foreboding pose. In this shot we see Håkan constructing a barrier. It is behind this barrier where he seeks to protect Eli and preserve his life with her.

However, Eli will not remain behind Håkan’s barrier. She seeks contact with Oskar and goes out into the courtyard to be with him. After Oskar and Eli’s fourth meeting, where Oskar gives Eli the Morse code key, they run off together. We are shown that Håkan has been watching them from behind his barrier. While Eli has escaped his barrier, he has not.

As Håkan is preparing for his last ill-fated foray to procure blood for Eli, the film shows us Eli entering the scene. As she does so, the film gives us an image of her hand on yet another window. The film seems to be telling us that the barrier that Håkan was erecting earlier is now a barrier between he and Eli.

Although Eli has entered the scene, she does not actually enter the kitchen where Håkan is. Instead she stops just at the threshold. She has not passed the barrier between she and Håkan.

However Håkan asks her to promise not to see Oskar that night. Eli then enters the kitchen and touches his face, but as she does so her face betrays no emotion at all.

Although this touch has great meaning for Håkan, it seems to have little or no meaning for Eli. Håkan has asked her to come back within the barrier he intends to keep between the two of them and the rest of the world. Eli gives her assent with a brief nod, but it is clear this barrier will hold her only as long as she allows it to.

As the final act in the theme of barriers regarding Håkan, Eli visits him at the hospital. The film reminds us one final time of the barrier between he and Eli with a shot of Eli with her hand on the window. Indeed, that is the purpose of her visit: to put the barrier of death between them.

The Bullies

We are first introduced to the bullies through one of their hands, or more specifically through Martin’s tapping finger.

In the scene where the policeman visits the classroom the film shows us Martin’s hand at the edge of frame. One finger is tapping ominously. The film makes sure that we notice it by having Oskar notice it. This is the first hint that the film gives us that all may not be right with Oskar’s world.

The tale of Oskar and the bullies is a tale told just by their hands, but by their hands upon him. Conny torments Oskar by pushing his nose to mimic a pig’s nose and then by flicking it with his finger. As he does so, the film shows us Conny’s hand in preference to showing us Conny’s face. It would be easy enough to block this scene out to show Conny’s face on one side, Oskar’s face on the other and Conny’s hand in the middle. Instead the film tells us that Conny the character is not important. By obscuring his face with his hand, the film is letting us know that it doesn’t matter who the bully is. This is Oskar’s world putting unkind hands on him.

When the bullies accost Oskar after school, once again the film would rather show us a hand rather than a face. Martin and Andreas sneak up behind Oskar and Martin grabs him from behind. The film gives us a shot of Oskar with Martin’s hand on his throat. Martin’s face however is hidden behind Oskar, although it would have been easy enough to let us see it. What we see once again is a disembodied hand mistreating Oskar.

Although the first scene with Oskar at the pool was already regarding the theme of Oskar & Eli’s hands, it was in this scene where that theme crossed paths with the theme of the bully’s hand. The scene in fact opens with a shot of Martin’s hands in a contemplative pose (if there can be such a thing). The shot then widens to show a similar look on his face. He then goes and engages – or at least attempts to engage – Oskar in a friendly conversation. The film shows us the bully’s hands first to remind us that he is a bully. However much he attempts to feign friendship with Oskar, these were the hands that were on Oskar’s throat.

And finally come the unkindest hands of all. By whacking Conny, Oskar has gotten rid of Conny as a threat, but it seems that Oskar’s world has unending supply of bullies each more cruel than the last. This pair of hands does not intend to just torment Oskar. This pair intends to maim or drown him. The film describes Jimmy’s interactions with Oskar almost entirely with shots of his hands.

As the action approaches its climax we are presented with an image of Jimmy’s hand on Oskar’s head with his fist grasping Oskar’s hair, preparing to push him under the surface. This one image symbolizes what Oskar’s world had been. Through the bullies’ tormenting and the adult’s lack of interest, Oskar’s world had its hand on his head and it was pushing him under. Oskar was drowning in a sea of cruelty and indifference.

Soon however, as carnage above the surface of the pool ends, we see that Jimmy’s arm has been severed. Its grasp on Oskar’s head has been released and drifts downward out of the bottom of the frame. By letting Oskar in, Eli has severed his world’s hostile grip on him just has she has severed Jimmy’s arm. While some viewers have criticized this shot for being a gratuitous bit of gore and also for not making sense in the kinematics of the attack that was taking place out of view, the symbolism of this shot is crucial as the dénouement to the visual theme of the bullies’ hands.

Finally we see that not only has Eli stopped the world from holding Oskar under the surface, she is actually uplifting him. The film shows her hand reaching downward from above to raise Oskar to the surface of the pool. She is not only saving him from his previous world, but she is removing him from it entirely.

US DVD Subtitle Comparison

When Let The Right One In saw it’s DVD release in America, people began to notice that the English subtitles were different from those in the theatrical release of the film. This change in subtitles was covered extensively in an article at the Icons of Fright website. An Icons of Fright reader had an email exchange with Magnolia Pictures (the distribution company that handled the American DVD release) and he received the following response:

Yes the bloggers are having a field day on this one. Normally they like to pick on the English Dub tracks, but in this case it’s the subtitles. Obviously online tend to get rowdy and bandwagon mentality without knowing all the details. The current subtitle track is not altering the context of the film at all, in fact it’s a more literal translation than any prior version of subtitles. It’s not a defective or faulty subtitle file. Just more literal and larger in size for the small screen. Both English and Spanish subtitle files were produced for this dvd release. Frankly it’s not all that uncommon to have the subs vary from prior releases, typically go unnoticed as subs are purely a translation of film dialogue. This wouldn’t have been a blip had it not been for one particular horror blog doing a side by side and claiming that they are wrong. They are not. We are not doing a recall or anything of that nature, again, these are not defective. Title came out two weeks ago and general public don’t notice and don’t care – bloggers are well known for jumping on something, making an issue of it and moving on. We have decided that based on the feedback that we will be making a running change, so that going forward (once inventories deplete), we will be making that subtitle version available. Options in set up will be; English Subtitles / English (theatrical) Subtitles / Spanish Subtitles

Having viewed the movie with both the Magnolia subtitles and with the original theatrical release subtitles, I’m not sure that I agree with Magnolia’s contention that it does not “alter the context[sic] of the film”. However, I’ll let you judge for yourself.

I can atest that Magnolia have been true to their word: I myself have found their re-released DVD with the theatrical English subtitles. The only way to tell the the re-release from the original is to look at the lower left corner of the back of the DVD case. In the section about subtitles the re-released DVD will say “(Theatrical)”:

The following are the two subtitle tracks side by side. I have added some annotations highlighting the differences that I think are the most significant, or more importantly that alter the viewer’s understanding of the film:

Theatrical Release Subtitles Magnolia DVD Subtitles
Woofy’s Comments
Time Index Dialog Time Index Dialog
1 00:00:40,040 –> 00:00:45,740 Let The Right One In 1 00:05:59,994 –> 00:06:05,796 LET THE RIGHT ONE IN
2 00:02:04,700 –> 00:02:10,830 Squeal like a pig.

So, squeal!

2 00:07:24,946 –> 00:07:28,006 Squeal like a pig.
3 00:07:28,049 –> 00:07:30,210 Squeal!
4 00:08:54,469 –> 00:08:56,960 Squeal!
3 00:03:34,620 –> 00:03:38,950 Squeal! Squeal like a pig! 5 00:08:57,005 –> 00:08:59,132 Squeal like a pig!
4 00:05:14,700 –> 00:05:18,200 The police have

ways to determine foul play…

6 00:10:35,003 –> 00:10:38,495 The police have many
ways

to find out if something’s fishy.

5 00:05:18,290 –> 00:05:22,790 Do you remember that fire in Ängby? 7 00:10:38,539 –> 00:10:40,666 Remember the house that burned down in Ängby?
6 00:05:22,870 –> 00:05:28,540 A house burned down and a body was found inside. 8 00:10:43,011 –> 00:10:44,945 A house that burned to the ground.
9 00:10:44,979 –> 00:10:48,779 They found someone in
there. Dead, of course.
7 00:05:28,620 –> 00:05:32,160 We knew that the fire had been set 10 00:10:48,816 –> 00:10:54,277 In that case we knew it was arson
8 00:05:32,250 –> 00:05:37,080 to conceal the fact that the person had been murdered beforehand. 11 00:10:54,322 –> 00:10:57,086 because the person had been murdered.
9 00:05:37,160 –> 00:05:40,290 So, how could they know that? 12 00:10:57,125 –> 00:11:00,526 How could we know that?
10 00:05:40,370 –> 00:05:42,990 Well… – Go ahead. 13 00:11:00,561 –> 00:11:02,426 Yes?
11 00:05:43,080 –> 00:05:47,290 There was no smoke in the lungs of the person who died. 14 00:11:02,463 –> 00:11:06,991 Because there wasn’t any smoke in the lungs.
12 00:05:47,370 –> 00:05:52,450 That’s correct.
Did you figure that out right now?
15 00:11:07,035 –> 00:11:09,299 That’s correct.
16 00:11:09,337 –> 00:11:11,965 How did you figure it out?
13 00:05:52,540 –> 00:05:55,040 No, I read a lot… 17 00:11:12,974 –> 00:11:15,875 I read a lot.
14 00:05:55,120 –> 00:05:59,540 What kind of books would that be? 18 00:11:15,910 –> 00:11:18,276 What kind of books,
I wonder?
15 00:05:59,620 –> 00:06:02,830 Just books. 19 00:11:20,114 –> 00:11:22,275 Newspapers and things like that.
16 00:06:02,910 –> 00:06:07,580 Okay… I’m going to talk to you about drugs. 20 00:11:23,518 –> 00:11:26,578 And now we can talk a little about drugs.
17 00:06:07,660 –> 00:06:12,950 What do you think are the most common types of drugs… 21 00:11:27,588 –> 00:11:30,614 What kinds are the most common…
18 00:06:15,540 –> 00:06:18,950 Hey, Oskar… 22 00:11:34,328 –> 00:11:37,126 Oskar!
19 00:06:19,040 –> 00:06:22,620 What are you staring at? 23 00:11:39,067 –> 00:11:41,934 What are you staring
at?
Huh?
20 00:06:22,700 –> 00:06:29,580 Are you looking at me? Well, fuck off! 24 00:11:43,071 –> 00:11:45,232 You staring at me?
21 00:06:34,370 –> 00:06:36,660 Oink! 25 00:11:46,240 –> 00:11:48,902 You better stop.
22 00:06:36,750 –> 00:06:40,410 What a good piggy you are. 26 00:11:57,018 –> 00:11:59,486 Good job, pig!
23 00:06:46,250 –> 00:06:50,740 - Come on, it’s time for PE.

– I’m not going…

24 00:07:04,790 –> 00:07:08,580 Here’s the weather forecast… 27 00:12:36,924 –> 00:12:42,123 On the coast, just a few degrees below zero.
28 00:12:42,163 –> 00:12:46,031 Eastern Svealand– cIear tonight…
29 00:12:48,102 –> 00:12:51,071 intermittent snow flurries…
30 00:12:51,105 –> 00:12:55,235 temperatures ranging from 20-32 degrees…
25 00:08:23,580 –> 00:08:26,660 Excuse me… 31 00:13:43,891 –> 00:13:46,587 Excuse me…?
26 00:08:26,750 –> 00:08:30,700 - Do you have the time?

– l don’t have a watch.

32 00:13:46,627 –> 00:13:48,754 What time is it?
27 00:08:30,790 –> 00:08:37,240 - What’s that?

– This? It’s called halotane.

33 00:13:48,796 –> 00:13:51,026 I don’t have a watch.
34 00:13:51,065 –> 00:13:53,590 What’s that?
35 00:13:53,634 –> 00:13:57,092 It’s called Halotan.
28 00:10:28,000 –> 00:10:30,290 Ricky… 36 00:15:48,082 –> 00:15:51,882 Ricky!
29 00:10:35,120 –> 00:10:36,620 Ricky! 37 00:15:55,623 –> 00:15:58,820 Ricky!
30 00:10:43,040 –> 00:10:45,240 Beat it! 38 00:16:03,698 –> 00:16:06,166 Get lost!
39 00:16:06,200 –> 00:16:08,361 Ricky?
40 00:16:14,842 –> 00:16:17,709 Ricky?
31 00:11:01,750 –> 00:11:04,370 Stupid dog! 41 00:16:21,115 –> 00:16:24,482 Darned dog!
42 00:16:27,455 –> 00:16:29,923 Ricky!
32 00:12:12,750 –> 00:12:16,080 What are you staring at? 43 00:17:33,521 –> 00:17:36,547 What are you looking at?
33 00:12:16,160 –> 00:12:19,410 Well? 44 00:17:36,590 –> 00:17:38,888 Huh?
34 00:12:19,500 –> 00:12:22,660 Are you looking at me? 45 00:17:39,894 –> 00:17:42,226 Looking at me?
35 00:12:22,750 –> 00:12:25,410 Well, fuck off! 46 00:17:43,230 –> 00:17:46,028 You better quit.
36 00:12:27,500 –> 00:12:30,290 What’s your problem? 47 00:17:47,902 –> 00:17:50,029 What’s wrong with you?
37 00:12:31,250 –> 00:12:34,700 Are you scared? 48 00:17:51,906 –> 00:17:54,170 Are you scared?
38 00:12:35,700 –> 00:12:37,740 So, scream. 49 00:17:56,310 –> 00:17:58,608 Squeal then!
39 00:12:37,830 –> 00:12:40,490 Squeal! 50 00:17:58,646 –> 00:18:00,637 Squeal!
40 00:12:51,580 –> 00:12:59,990 - What are you doing?

– Nothing.

51 00:18:12,259 –> 00:18:14,250 What are you doing?
52 00:18:14,295 –> 00:18:16,957 Nothing.
53 00:18:16,997 –> 00:18:19,693 - What are you doing?

– Nothing.

41 00:13:00,080 –> 00:13:04,080 - Do you live here?

– Yeah…

54 00:18:21,035 –> 00:18:24,630 - Do you live here?

– Yes…

42 00:13:04,160 –> 00:13:08,160 I live right here, in the jungle gym. 55 00:18:24,672 –> 00:18:27,072 I live here. Omitting Eli’s joke about living in the jungle gym is no small thing. This is the only hint we get that Eli has a sense of humor.
43 00:13:08,250 –> 00:13:11,450 Seriously, where do you live? 56 00:18:27,108 –> 00:18:30,600 Okay.

Where do you live?

44 00:13:11,540 –> 00:13:17,990 - Next door to you.

– How do you know where I live?

57 00:18:32,480 –> 00:18:34,744 Next to you.
58 00:18:36,250 –> 00:18:38,775 How do you know where I live?
45 00:13:23,330 –> 00:13:28,370 Just so you know, I can’t be your friend. 59 00:18:44,291 –> 00:18:46,191 I can’t be friends with you.
46 00:13:28,450 –> 00:13:34,240 - What do you mean?

– Does there have to be a reason?

60 00:18:46,227 –> 00:18:48,661 Just so you know.
61 00:18:48,696 –> 00:18:52,632 Why?
47 00:13:34,330 –> 00:13:37,990 That’s just the way it is. 62 00:18:52,666 –> 00:18:57,399 That’s just how it is.
48 00:13:46,200 –> 00:13:50,040 Are you so sure that I want to be your friend? 63 00:19:07,181 –> 00:19:09,809 Do you think I want to be friends with you?
49 00:14:16,160 –> 00:14:20,740 You’re supposed to help me! 64 00:19:36,710 –> 00:19:40,168 I’ve told you you have to help me!
50 00:14:27,620 –> 00:14:32,370 Do I really have to take care of this myself? 65 00:19:48,289 –> 00:19:51,258 Do I have to do it myseIf?
51 00:14:42,790 –> 00:14:45,290 Say something! 66 00:20:03,671 –> 00:20:06,265 Say something!
52 00:14:45,370 –> 00:14:49,240 Forgive me. 67 00:20:06,307 –> 00:20:08,502 Sorry. “Forgive me” seems to cast Hakan as Eli’s inferior, while “Sorry” does not.
53 00:14:49,330 –> 00:14:54,080 They don’t know why the boy was killed. 68 00:20:10,744 –> 00:20:14,077 So no one knows why this boy was murdered.
54 00:14:54,160 –> 00:14:57,620 I realize that many of you may be worried. 69 00:20:15,349 –> 00:20:18,546 I understand that many of you are scared,
55 00:14:57,700 –> 00:15:00,540 The counselor will be here all day, 70 00:20:18,586 –> 00:20:21,350 but the counselor will be here all day.
56 00:15:00,620 –> 00:15:05,410 so go talk to her if you feel the need. Any questions? 71 00:20:21,388 –> 00:20:24,585 You can talk to her whenever you want.
72 00:20:24,625 –> 00:20:26,752 Does anyone have any questions?
57 00:15:05,500 –> 00:15:09,950 Is it all right to kill the killer if you happen to meet him? 73 00:20:26,794 –> 00:20:29,058 If we meet the murderer, can we murder him?
58 00:15:10,040 –> 00:15:14,080 That wasn’t very nice, Conny. 74 00:20:30,497 –> 00:20:33,989 Conny, that was unnecessary.
59 00:15:25,330 –> 00:15:27,870 Oskar… 75 00:20:35,703 –> 00:20:38,001 Oskar!
60 00:15:31,910 –> 00:15:36,330 Where are you, Piggy? 76 00:20:45,913 –> 00:20:48,541 Oskar!
61 00:15:37,580 –> 00:15:40,700 - Where are you, Piggy?

– Piggy!

77 00:20:50,417 –> 00:20:52,681 Oskar!
62 00:15:58,000 –> 00:16:01,740 Now go straight home after school. 78 00:21:18,879 –> 00:21:20,972 You will go straight home after school!
63 00:16:01,830 –> 00:16:04,990 And don’t leave the courtyard until I get home. 79 00:21:22,983 –> 00:21:25,747 And you’re not to leave the yard untiI I come home.
64 00:16:05,080 –> 00:16:10,290 - lt was way over in VÄllingby.

– A person who kills children…

80 00:21:25,786 –> 00:21:27,845 But it was in VÄllingby.
65 00:16:10,370 –> 00:16:13,990 …is certainly capable of taking the subway two stations. 81 00:21:27,888 –> 00:21:31,153 So you think someone who murders children
82 00:21:31,191 –> 00:21:34,456 can’t take the subway?
66 00:16:14,080 –> 00:16:16,870 Or walking a mile. 83 00:21:34,495 –> 00:21:37,828 Or walk a kilometer?
67 00:16:28,330 –> 00:16:33,330 No, Oskar will be staying with his dad next week. 84 00:21:46,373 –> 00:21:48,807 Yes, that would be best…
85 00:21:48,842 –> 00:21:53,211 He’s going to his father’s next week…
68 00:16:38,870 –> 00:16:40,660 KILLER TAPS BLOOD 86 00:21:59,787 –> 00:22:02,085 Murder in VÄllingby

MURDERER DRAINED VICTIM’S BLOOD

69 00:17:02,870 –> 00:17:07,540 VICTIM’S BLOOD WAS TAPPED 87 00:22:07,728 –> 00:22:10,492 Senseless massacre in Beirut Here I must say that I prefer the way that the Magnolia subtitles translate more of the headlines from Oskar’s scrapbook. It lends a sense of how comprehensive it is, of how much time Oskar spends on it.
88 00:22:17,604 –> 00:22:19,902 No survivors in Arab murders

manhunt for killer continues

89 00:22:19,940 –> 00:22:21,908 Eyewitness identifies murderer

prior to confession

90 00:22:24,144 –> 00:22:29,081 MURDER DRAINED HIS VICTIM
70 00:17:40,040 –> 00:17:43,830 - Hi.

– lf it isn’t my little honey bunny…

91 00:23:01,715 –> 00:23:04,206 …just coming– hi, there.
71 00:17:44,870 –> 00:17:52,950 The death penalty has no
justification in a society based on the rule of law.
92 00:23:07,354 –> 00:23:09,720 I really don’t think the death penalty
72 00:17:53,040 –> 00:17:55,790 Based on the rule of law? 93 00:23:09,757 –> 00:23:15,059 has any relevance in our society.
73 00:17:55,870 –> 00:18:02,330 The government wants us to believe that crap, just like the Russians… 94 00:23:16,997 –> 00:23:18,555 It’s just something
95 00:23:18,599 –> 00:23:21,227 they’ve drilled into us–
96 00:23:21,268 –> 00:23:23,293 like the Russians or something–
74 00:18:02,410 –> 00:18:06,200 Are you saying there aren’t any Russians? 97 00:23:23,337 –> 00:23:26,829 Are you saying there aren’t any Russians?
75 00:18:06,290 –> 00:18:10,160 - Of course there are…

– Never seen the guy before.

98 00:23:26,874 –> 00:23:29,240 Of course there are Russians.
99 00:23:29,276 –> 00:23:31,301 Never seen him before.
76 00:18:10,250 –> 00:18:16,540 But take rattlesnakes…

Does anyone actually get bitten?

100 00:23:33,480 –> 00:23:37,314 Who’s been bitten by a snake here? “Who’s been bitten by a snake here?” Where in the heck does this come from in the conversation?
77 00:18:16,620 –> 00:18:20,870 That guy over there just moved into my neighborhood. He has a kid. 101 00:23:37,351 –> 00:23:40,081 He moved into my building the other day. With a little kid.
78 00:18:20,950 –> 00:18:24,410 They’re in Janne’s old place.
79 00:18:24,500 –> 00:18:30,120 - Should I ask him to join us?

– Sure…

102 00:23:45,559 –> 00:23:49,256 - ShouId I ask him over?

– Yes, ask him!

80 00:18:30,200 –> 00:18:32,410 He might pay for a round. 103 00:23:51,198 –> 00:23:53,428 What the hell? “What the hell?”, “In that case…”; These subtitles make no sense. They are like excerpts from another conversation. My guess would be the conversation in the other column. :-)
81 00:18:32,500 –> 00:18:38,240 In that case, he’s welcome even if he has cancer. 104 00:23:53,467 –> 00:23:56,163 In that case…
82 00:18:43,580 –> 00:18:47,370 Bad news? 105 00:24:04,611 –> 00:24:07,011 Things not going too well?
83 00:18:49,120 –> 00:18:53,490 Yeah, life stinks… 106 00:24:10,484 –> 00:24:12,475 It’s screwed up.
84 00:18:55,870 –> 00:18:59,370 You just moved into number 15, right? 107 00:24:16,757 –> 00:24:19,453 You moved into #15?
85 00:19:01,620 –> 00:19:06,870 You don’t have to sit here all alone, join us and have a laugh. 108 00:24:22,563 –> 00:24:26,124 Why sit by yourself? Come over instead.
86 00:19:06,950 –> 00:19:09,830 No thanks, I’m in a hurry. 109 00:24:27,801 –> 00:24:30,599 I’m kind of in a hurry.
87 00:19:16,910 –> 00:19:20,700 Mom… I’m going out. 110 00:24:37,744 –> 00:24:39,803 Mom?
111 00:24:39,847 –> 00:24:41,815 I’m going out for a while.
88 00:19:20,790 –> 00:19:24,160 Aren’t you going to watch the show? 112 00:24:41,849 –> 00:24:45,307 Aren’t you going to watch the rest?
89 00:19:24,250 –> 00:19:26,490 No, it’s no good. 113 00:24:45,352 –> 00:24:47,582 No, it wasn’t any good.
90 00:19:26,580 –> 00:19:30,790 Stay in the courtyard, okay? 114 00:24:47,621 –> 00:24:50,055 Stay in the yard, then, okay?
91 00:19:31,870 –> 00:19:36,620 I’ll just watch this on my own, then. 115 00:24:52,559 –> 00:24:55,528 Well, I’ll watch the rest anyway.
92 00:20:20,620 –> 00:20:23,450 So you’re back… 116 00:25:41,875 –> 00:25:44,241 You’re here again?
93 00:20:23,540 –> 00:20:26,330 So you’re back. 117 00:25:44,278 –> 00:25:46,269 Are you here again?
94 00:20:26,410 –> 00:20:30,490 - I want to be left alone.

– So do l.

118 00:25:47,347 –> 00:25:49,838 I want to be left alone.
119 00:25:49,883 –> 00:25:51,714 Me too.
95 00:20:30,580 –> 00:20:32,910 Then go home. 120 00:25:51,752 –> 00:25:53,879 Go home, then!
96 00:20:33,000 –> 00:20:37,790 You go home,
I’ve lived here way longer than you.
121 00:25:53,921 –> 00:25:57,152 You go home.
I’ve lived here longer.
97 00:20:43,410 –> 00:20:46,740 - What’s that?

– This?

122 00:26:03,897 –> 00:26:05,762 What’s that?
98 00:20:46,830 –> 00:20:49,540 It’s a Rubik’s cube. 123 00:26:06,867 –> 00:26:10,826 This?
It’s a Rubik’s cube.
99 00:20:49,620 –> 00:20:52,950 Is it some kind of puzzle? 124 00:26:10,871 –> 00:26:13,465 Is it a puzzle?
100 00:20:53,040 –> 00:20:55,790 Yeah… 125 00:26:13,507 –> 00:26:15,498 Yes.
101 00:21:00,700 –> 00:21:03,370 Want to try? 126 00:26:21,882 –> 00:26:24,248 You want to borrow it?
102 00:21:03,450 –> 00:21:08,040 - You can give it back tomorrow.

– l might not be here tomorrow.

127 00:26:24,284 –> 00:26:27,344 Till tomorrow. Here I think that the Magnolia subs cast Oskar in a more charitable light, while the theatrical subs have him setting a limit on his generosity. I guess this difference could be a matter of taste.
128 00:26:27,387 –> 00:26:29,719 I might not be here tomorrow.
103 00:21:08,120 –> 00:21:12,740 The day after, then. But that’s it. 129 00:26:29,756 –> 00:26:32,623 That’s okay. You can borrow it till Monday.
104 00:21:26,540 –> 00:21:29,620 How do you do it? 130 00:26:47,975 –> 00:26:50,739 How does it work?
105 00:21:29,700 –> 00:21:32,660 You want each side to be a solid color. 131 00:26:50,777 –> 00:26:54,144 You try to get the sides one color.
106 00:21:32,750 –> 00:21:34,870 Like this… 132 00:26:54,181 –> 00:26:56,513 Like this.
107 00:22:02,910 –> 00:22:07,120 You smell funny. 133 00:27:23,910 –> 00:27:25,878 You smell funny.
108 00:22:12,080 –> 00:22:16,540 - Aren’t you cold?

– No.

134 00:27:33,220 –> 00:27:36,189 Aren’t you cold?
109 00:22:16,620 –> 00:22:21,580 - Why not?

– l guess I’ve forgotten how.

135 00:27:36,223 –> 00:27:39,192 - No.

– Why not?

136 00:27:39,226 –> 00:27:41,524 I guess I’ve forgotten how.
110 00:22:26,250 –> 00:22:28,700 See you tomorrow. 137 00:27:47,167 –> 00:27:49,635 Guess I’ll see you Monday, then.
138 00:27:49,670 –> 00:27:51,535 Okay.
139 00:28:31,178 –> 00:28:32,941 Okay.
111 00:23:09,950 –> 00:23:14,870 Thanks for yet another evening steeped in friendship and merriment. 140 00:28:32,979 –> 00:28:36,506 Thanks for tonight.
112 00:23:14,950 –> 00:23:19,620 Good night, old buddy. 141 00:28:36,550 –> 00:28:38,484 Bye, old pal.
113 00:23:19,700 –> 00:23:24,080 - See you tomorrow.

– You’re the best, Jocke!

142 00:28:40,520 –> 00:28:43,114 - See you tomorrow.

– Yeah.

143 00:28:43,156 –> 00:28:46,353 - You’re the best.

– You too.

114 00:23:42,910 –> 00:23:45,120 Help… 144 00:29:04,745 –> 00:29:06,576 Help me.
115 00:23:53,250 –> 00:23:55,660 Hello? 145 00:29:14,488 –> 00:29:16,752 Hello?
116 00:23:57,540 –> 00:24:01,580 Please help me. 146 00:29:18,492 –> 00:29:21,290 Please, help me.
117 00:24:02,700 –> 00:24:05,790 Is something wrong? 147 00:29:23,897 –> 00:29:26,491 Has something happened?
118 00:24:13,000 –> 00:24:16,910 Are you all right? 148 00:29:34,508 –> 00:29:36,703 Are you hurt?
119 00:24:18,330 –> 00:24:22,620 - Can you get up?

– No…

149 00:29:39,479 –> 00:29:42,380 - Can you get up?

– No.

120 00:24:27,580 –> 00:24:34,370 Oh… l’ll carry you, and take you to a phone. 150 00:29:51,658 –> 00:29:55,651 I’ll carry you.
Can we call somewhere?
121 00:24:34,450 –> 00:24:37,830 - Careful.

– You don’t weigh a thing.

151 00:29:55,695 –> 00:29:57,162 Careful.
152 00:29:57,197 –> 00:29:59,062 You don’t weigh anything–
122 00:24:42,200 –> 00:24:44,830 Bloody hell!
123 00:26:36,120 –> 00:26:40,620 Never again…
124 00:26:48,910 –> 00:26:54,290 Gösta? Christ, it’s been ages. I haven’t seen you all year. 153 00:32:10,430 –> 00:32:13,365 Gösta?

Hey, Gösta!

154 00:32:13,400 –> 00:32:16,892 It’s been a long time.
125 00:26:55,580 –> 00:26:58,200 Jocke… 155 00:32:16,937 –> 00:32:19,667 - Jocke…

– What?

126 00:26:58,950 –> 00:27:01,700 Jocke! 156 00:32:19,706 –> 00:32:22,300 Jocke–
127 00:27:01,790 –> 00:27:06,290 I was out on the balcony and I saw… 157 00:32:23,310 –> 00:32:26,609 There was an animal behind– Animal? Is there a reference to an animal in the Swedish dialog?
128 00:27:06,370 –> 00:27:11,200 I saw Jocke and this kid… 158 00:32:26,646 –> 00:32:30,810 and then I saw Jocke–
and a little kid.
It turns out there was – sort of. Forum user Chimp related this bit to me: “Gösta is only saying that he saw Jocke and ‘there was this small kid…’ However, one of the drunks pulls a small joke, as they know Gösta’s love for cats and quickly replies ‘a kitten?’ Because in Swedish, unge = kid and kattunge = kitten. Very simple to change the word and pull a prank on Gösta.”
Thanks Chimp. :-)
129 00:27:11,290 –> 00:27:15,910 How big was this kid? This comment should not have been omitted. It shows the beginning of Lacke’s interest in who the “kid” was.
130 00:27:16,000 –> 00:27:19,240 It was around here somewhere. 159 00:32:37,457 –> 00:32:40,290 It was here somewhere.
131 00:27:21,660 –> 00:27:25,330 Move it. 160 00:32:42,429 –> 00:32:45,023 Look!
132 00:27:26,700 –> 00:27:32,540 What the hell is this? Christ! 161 00:32:48,034 –> 00:32:50,502 Damn.
162 00:32:51,538 –> 00:32:54,098 Blood.
133 00:27:32,620 –> 00:27:35,040 It’s blood! 163 00:32:54,140 –> 00:32:56,074 It’s blood, damn it!
134 00:27:35,120 –> 00:27:39,740 Who the hell did this? 164 00:32:56,109 –> 00:32:58,805 Who the hell did this?
165 00:33:16,396 –> 00:33:19,058 Whew…
135 00:30:33,830 –> 00:30:36,950 How did you do it? 166 00:35:55,622 –> 00:35:58,352 How did you do it?
136 00:30:41,450 –> 00:30:44,740 I just twisted it. 167 00:36:02,862 –> 00:36:05,888 I turned it.
137 00:30:47,790 –> 00:30:51,160 Do I smell better now? 168 00:36:09,502 –> 00:36:11,595 Do I smell better?
138 00:30:56,000 –> 00:30:59,370 Um, what’s your name? 169 00:36:18,645 –> 00:36:20,943 What’s your name?
139 00:30:59,450 –> 00:31:02,080 Eli. 170 00:36:20,980 –> 00:36:23,949 Ei.
140 00:31:02,160 –> 00:31:08,160 - What’s yours?

– Eli?

171 00:36:23,983 –> 00:36:25,575 What’s yours?
172 00:36:25,618 –> 00:36:29,679 - Eli?

– Yeah.

141 00:31:08,250 –> 00:31:11,490 I’m Oskar. 173 00:36:29,722 –> 00:36:32,623 My name is Oskar.
142 00:31:11,580 –> 00:31:18,200 - How old are you?

– 12… more or less.

174 00:36:33,626 –> 00:36:35,594 How old are you? The phrase “more or less” is infinitely more charming that the phrase “about”. Also, it adds a better cadence to the dialog that you hear in your mind as you read the subtitles. For the people who have seen the theatrical subtitles, the phrase “more or less” is one the most memorable lines of the film.
175 00:36:35,628 –> 00:36:39,086 Twelve– about.
143 00:31:18,290 –> 00:31:20,950 What about you? 176 00:36:40,099 –> 00:36:42,829 And you?
144 00:31:21,040 –> 00:31:23,660 12 years, 8 months and 9 days. 177 00:36:42,869 –> 00:36:45,303 12 years, eight months, and nine days.
145 00:31:23,750 –> 00:31:28,120 What do you mean, "more or less"? 178 00:36:45,338 –> 00:36:47,431 What do you mean, ”about 1 2”?
146 00:31:29,500 –> 00:31:32,160 When’s your birthday? 179 00:36:51,010 –> 00:36:53,740 When’s your birthday?
147 00:31:32,250 –> 00:31:35,080 I don’t know. 180 00:36:53,780 –> 00:36:55,771 I don’t know.
148 00:31:35,160 –> 00:31:39,040 Don’t you celebrate your birthday? 181 00:36:56,783 –> 00:37:00,617 But, like, when were you born?
149 00:31:39,120 –> 00:31:44,330 Your parents… they’ve got to know. 182 00:37:00,653 –> 00:37:04,020 Your parents–
they have to know.
150 00:31:49,410 –> 00:31:53,120 Then you don’t get any birthday presents, do you? 183 00:37:11,030 –> 00:37:13,897 You never get any presents?
151 00:31:53,200 –> 00:31:56,910 No. 184 00:37:14,901 –> 00:37:17,028 No.
152 00:32:00,120 –> 00:32:02,830 You can have this, if you want. 185 00:37:21,541 –> 00:37:24,999 You can have this if you want.
153 00:32:02,910 –> 00:32:06,330 It’s yours. 186 00:37:25,044 –> 00:37:27,740 It’s yours.
154 00:32:10,120 –> 00:32:13,120 I don’t get how you did this… 187 00:37:31,718 –> 00:37:34,118 I don’t get how you did it.
155 00:32:13,200 –> 00:32:16,330 Want me to show you? 188 00:37:35,121 –> 00:37:37,214 You want me to show you?
156 00:32:19,040 –> 00:32:24,490 - Here. Go ahead.

– Start with the corners.

189 00:37:41,961 –> 00:37:43,758 Show me.
157 00:32:24,580 –> 00:32:28,990 Then this part. And you put… 190 00:37:43,796 –> 00:37:46,287 You have to start here…
158 00:32:29,080 –> 00:32:32,580 Like this… 191 00:37:46,332 –> 00:37:49,597 then you take this side. See?
159 00:32:32,660 –> 00:32:37,290 No, like this. Then this…
160 00:32:41,330 –> 00:32:45,580 …slipping in and out of
the
shadows, running quick and quiet
192 00:38:03,349 –> 00:38:06,079 ‘He slipped in and out
among the tree shadows.
161 00:32:45,660 –> 00:32:49,080 and keeping out of the sun; 193 00:38:06,119 –> 00:38:09,350 He ran quickly and
quietly
and was careful to avoid the light.
162 00:32:49,160 –> 00:32:55,580 so soon they went back,
grumbling
and cursing, to guard the door.
194 00:38:10,957 –> 00:38:13,755 Soon they returned
to watch the gate,
195 00:38:13,793 –> 00:38:17,126 muttering
and swearing.
163 00:32:55,660 –> 00:32:59,790 Bilbo had escaped. 196 00:38:17,163 –> 00:38:20,929 Bilbo was saved.
164 00:33:04,290 –> 00:33:06,740 Right… That’s all for today. 197 00:38:26,339 –> 00:38:28,967 Well then, that’s it for today!
165 00:33:06,830 –> 00:33:11,700 Has everyone handed in their slips for the field trip on Thursday? 198 00:38:29,008 –> 00:38:31,738 Do you all have the slips for Thursday’s field trip?
166 00:33:11,790 –> 00:33:14,990 Well then, class dismissed. 199 00:38:33,379 –> 00:38:36,007 Thank you for today.
167 00:33:21,080 –> 00:33:26,620 - Oskar, aren’t you…?

– No, l have stuff to do.

200 00:38:43,089 –> 00:38:46,650 - Oskar, aren’t you going?

– No, I have some things to do.

168 00:33:31,290 –> 00:33:34,660 Hurry up, Conny. 201 00:39:03,876 –> 00:39:06,367 Samuel Morse
169 00:34:30,660 –> 00:34:33,410 What were you writing down? 202 00:39:52,525 –> 00:39:54,925 What were you writing?
170 00:34:35,330 –> 00:34:37,740 What do you mean? 203 00:39:56,963 –> 00:39:59,864 What do you mean?
171 00:34:37,830 –> 00:34:41,990 Show it to me. 204 00:39:59,899 –> 00:40:02,197 Let me see.
172 00:34:47,950 –> 00:34:49,790 No. 205 00:40:09,909 –> 00:40:11,376 No.
173 00:34:49,870 –> 00:34:54,040 What do you mean, no? Hand it over. 206 00:40:11,411 –> 00:40:13,902 What do you mean, no?
Give it here!
174 00:35:49,750 –> 00:35:53,910 Crap, who’s going to talk to his mom? 207 00:41:12,038 –> 00:41:15,474 Who’s gonna talk to his mom now? This line makes no sense in either subtitle track. I believe even Lindqvist himself makes this comment in the Swedish commentary track. I tend to agree.
175 00:35:54,000 –> 00:35:56,830 Wait for me! 208 00:41:15,508 –> 00:41:17,806 Wait!
176 00:35:56,910 –> 00:36:01,410 Oskar… 209 00:41:18,811 –> 00:41:21,541 Oskar!
177 00:36:05,200 –> 00:36:07,870 Piggy! 210 00:41:27,019 –> 00:41:29,988 Oskar!
178 00:36:10,370 –> 00:36:13,290 I fell down during recess. 211 00:41:32,391 –> 00:41:35,383 I fell at recess.
179 00:36:15,620 –> 00:36:20,830 - I tripped on this
rock.

– Oh, honey…

212 00:41:38,164 –> 00:41:39,961 I fell on a rock.
213 00:41:39,999 –> 00:41:43,662 Oh, darling.
180 00:36:21,830 –> 00:36:25,620 You’ve got to watch your step. 214 00:41:43,703 –> 00:41:46,433 You have to be careful.
215 00:41:49,809 –> 00:41:52,073 Hmm?
181 00:36:33,330 –> 00:36:38,620 Short, long, long, short, long… 216 00:41:55,214 –> 00:42:00,743 Short, long, long, short, long.
182 00:36:38,700 –> 00:36:45,200 - Short, long, long, short, long.

– Exactly.

217 00:42:00,786 –> 00:42:05,280 Short, long, long, short, long.
218 00:42:05,324 –> 00:42:07,815 Exactly.
183 00:36:47,080 –> 00:36:48,660 Here… 219 00:42:08,828 –> 00:42:10,853 Here.
184 00:36:52,950 –> 00:36:56,080 What happened to you? 220 00:42:15,101 –> 00:42:17,433 What happened?
185 00:36:57,410 –> 00:37:00,410 There… 221 00:42:18,905 –> 00:42:20,896 Here.
186 00:37:03,080 –> 00:37:08,160 Some classmates… 222 00:42:25,177 –> 00:42:27,941 Some kids in my class.
187 00:37:10,330 –> 00:37:15,080 - Where do you go to
school?

– Oskar, listen…

223 00:42:32,251 –> 00:42:34,219 Where do you

go to school, anyway?

224 00:42:34,253 –> 00:42:37,279 Oskar, listen.
188 00:37:17,200 –> 00:37:20,040 Hit back. 225 00:42:39,792 –> 00:42:42,260 You have to fight back.
189 00:37:22,910 –> 00:37:26,450 You’ve never hit back… 226 00:42:45,031 –> 00:42:47,522 You’ve never hit them back…
190 00:37:26,540 –> 00:37:29,910 Have you? 227 00:42:48,701 –> 00:42:51,329 have you?
191 00:37:30,000 –> 00:37:36,040 So do it. Hit back. Hard. 228 00:42:52,338 –> 00:42:56,206 Start hitting back now–
229 00:42:56,242 –> 00:42:58,233 hard.
192 00:37:37,870 –> 00:37:42,240 - There are three of
them.

– Hit back even harder.

230 00:42:59,779 –> 00:43:01,940 There are three of them.
231 00:43:01,981 –> 00:43:04,449 Then you have to hit even harder!
193 00:37:42,330 –> 00:37:47,240 Hit harder than you dare,
then they’ll stop.
232 00:43:04,483 –> 00:43:07,475 Hit back harder than you dare.
233 00:43:07,520 –> 00:43:09,454 Then they’ll stop.
194 00:37:47,330 –> 00:37:52,290 - What if…?

– Then I’ll help you.

234 00:43:09,488 –> 00:43:13,288 - But if they–

– Then I’ll help you.

195 00:37:53,790 –> 00:37:57,620 I can do that. 235 00:43:15,861 –> 00:43:18,056 I can.
196 00:38:09,000 –> 00:38:16,240 Come on. 236 00:43:30,610 –> 00:43:32,874 Come.
237 00:43:36,215 –> 00:43:38,479 Come.
197 00:38:29,330 –> 00:38:33,330 Hey… Move. 238 00:43:59,338 –> 00:44:01,772 Move over.
198 00:38:33,410 –> 00:38:36,990 You’re in the way.
199 00:38:37,080 –> 00:38:39,660 Go on.
200 00:38:53,370 –> 00:38:58,990 Let’s see, short, short… 239 00:44:17,490 –> 00:44:19,754 Short, short…
201 00:39:03,330 –> 00:39:11,740 S…W…E…E…T 240 00:44:25,598 –> 00:44:28,226 S-s-s… Instead of having Oskar spell out “S-W-E-E-T D-R-E-A-M-S”, the Magnolia subtitles apear to be nonsense. It was pointed out to me by IMDB user andreas-263 that what Oskar is spelling out in Swedish is “sov gott”, which literally means “sleep well”. Instead of being touched by Oskar’s message the English-speaking audience is merely puzzled.
202 00:39:16,040 –> 00:39:17,620 D…R… 241 00:44:28,267 –> 00:44:31,202 Ooh-hh…
242 00:44:32,438 –> 00:44:34,668 Vuh…
243 00:44:37,910 –> 00:44:39,935 Guh…
203 00:39:17,700 –> 00:39:20,040 Keep proper distance. 244 00:44:39,979 –> 00:44:42,174 Keep the distance!
204 00:39:20,120 –> 00:39:25,580 Not too close, not too
far.

Keep distance.

245 00:44:42,214 –> 00:44:44,341 Not too near, not too far.
246 00:44:44,383 –> 00:44:46,510 Keep the distance!
205 00:39:29,500 –> 00:39:31,830 Nice and steady. 247 00:44:51,724 –> 00:44:54,591 Just so. Calmly.
206 00:39:35,250 –> 00:39:37,540 Yes? 248 00:44:56,429 –> 00:44:59,091 Yes?
207 00:39:42,500 –> 00:39:47,080 The after school weight-lifting program… 249 00:45:03,803 –> 00:45:08,263 That strength training class in the bathhouse…
208 00:39:47,160 –> 00:39:49,660 Could I sign up for it? 250 00:45:09,275 –> 00:45:11,675 can I sign up for it?
209 00:39:49,750 –> 00:39:53,740 You don’t have to sign
up,

just be there at seven.

251 00:45:11,711 –> 00:45:13,702 You don’t have to sign
up,

just come.

210 00:39:53,830 –> 00:39:58,240 Are you thinking of doing it? Good. 252 00:45:13,746 –> 00:45:17,273 At 7:00.

You want to?

253 00:45:17,316 –> 00:45:20,547 - Yes.

– Good!

211 00:39:58,330 –> 00:40:04,290 If you practice, you can make strong. 254 00:45:20,586 –> 00:45:23,783 You’ll train, then you can go about 50 times.
212 00:40:05,290 –> 00:40:09,290 See you. 255 00:45:27,493 –> 00:45:30,690 At least.
213 00:40:10,870 –> 00:40:14,330 Wait a sec… 256 00:45:33,466 –> 00:45:35,559 Wait a minute…
214 00:40:14,410 –> 00:40:18,450 Mixed candy. 257 00:45:35,601 –> 00:45:38,934 Mixed.
215 00:40:25,790 –> 00:40:27,950 Here. 258 00:45:48,047 –> 00:45:50,072 Here.
216 00:40:31,910 –> 00:40:34,490 No. 259 00:45:54,220 –> 00:45:56,586 No.
217 00:40:37,790 –> 00:40:41,160 Too bad. 260 00:46:00,192 –> 00:46:02,319 Too bad.
218 00:40:41,250 –> 00:40:46,120 I can… try one. 261 00:46:03,996 –> 00:46:07,625 I can… try one.
219 00:41:25,160 –> 00:41:27,240 Sorry… 262 00:46:47,373 –> 00:46:49,705 I’m sorry.
220 00:41:45,660 –> 00:41:47,790 Oskar… 263 00:47:08,093 –> 00:47:11,153 Oskar…
221 00:41:48,790 –> 00:41:51,990 Do you like me? 264 00:47:11,197 –> 00:47:13,392 do you like me?
222 00:41:52,080 –> 00:41:55,120 Yeah, a lot. 265 00:47:14,400 –> 00:47:17,233 Yes, a lot.
223 00:41:55,200 –> 00:41:58,240 If I wasn’t a girl… 266 00:47:17,269 –> 00:47:19,499 If I weren’t a girl,
224 00:41:58,330 –> 00:42:01,580 …would you like me anyway? 267 00:47:19,538 –> 00:47:23,065 would you like me anyway?
225 00:42:01,660 –> 00:42:05,200 I suppose so. 268 00:47:24,210 –> 00:47:26,474 I guess so.
226 00:42:07,410 –> 00:42:10,990 Why do you ask? 269 00:47:29,782 –> 00:47:32,080 Why?
227 00:42:42,250 –> 00:42:44,740 Oskar! Hello! 270 00:48:04,617 –> 00:48:08,280 Oskar!

Hi, buddy!

228 00:42:44,830 –> 00:42:48,160 Hello, son. 271 00:48:10,222 –> 00:48:13,316 - You’re early.

– Hi, Dad!

229 00:42:48,250 –> 00:42:51,990 - You’re early.

– Hi, Dad.

230 00:44:21,700 –> 00:44:25,580 There are people who know my face, 272 00:49:44,283 –> 00:49:47,912 There are people who recognize my face
231 00:44:25,660 –> 00:44:29,870 who know that I live here with you. 273 00:49:47,953 –> 00:49:50,786 who know I live here, with you.
232 00:44:29,950 –> 00:44:32,290 Maybe you shouldn’t. 274 00:49:52,291 –> 00:49:57,160 - Maybe you shouldn’t.

– Where else would you be?

I suppose the Magnolia line here may be a more literal translation of the Swedish dialog, but it makes no sense in the context of the scene. The theatrical subtitle line seems to betray a bitterness on the part of Håkan. Since Håkan is such a mysterious figure in the movie, omitting or changing any clues that we get about his motivations seems to be a major disservice to the audience.
233 00:44:32,370 –> 00:44:37,160 What else am l good for?
234 00:44:38,580 –> 00:44:41,950 Could you do one thing for me? 275 00:50:01,100 –> 00:50:04,797 Can you do something for me?
235 00:44:42,040 –> 00:44:47,450 Could you not see that boy tonight?
Please?
276 00:50:04,837 –> 00:50:10,571 Not see that boy

this evening?

236 00:46:25,620 –> 00:46:26,740 What the…? 277 00:51:46,972 –> 00:51:49,463 What the hell?
237 00:46:26,830 –> 00:46:31,450 What’s taking Matte so long? 278 00:51:49,508 –> 00:51:53,000 - Where’s Matte?

– Don’t know.

238 00:46:41,620 –> 00:46:44,120 Hey, Matte… 279 00:52:03,989 –> 00:52:07,584 Hey! Matte?
239 00:46:45,830 –> 00:46:48,740 You can jerk off at home. 280 00:52:07,626 –> 00:52:10,618 Matte!
Time to go home!
The theatrical line was just flat out funny. This movie is rated “R”, so why change it?
240 00:46:49,830 –> 00:46:52,790 Matte, hurry up. 281 00:52:11,930 –> 00:52:15,627 Matte?

What are you doing?

241 00:46:55,870 –> 00:46:59,790 What are you up to? 282 00:52:18,570 –> 00:52:20,834 Open the door.
242 00:47:01,370 –> 00:47:06,240 - Matte!

– Let me down.

283 00:52:23,942 –> 00:52:25,842 Matte!
243 00:47:08,200 –> 00:47:11,240 Let me down… 284 00:52:25,878 –> 00:52:28,608 Let me down!
244 00:47:13,750 –> 00:47:28,240 Help! 285 00:52:30,782 –> 00:52:33,842 Let me down!
245 00:47:29,080 –> 00:47:32,870 - Matte!

– Help!

286 00:52:42,227 –> 00:52:44,821 Help!
287 00:52:48,333 –> 00:52:50,494 Help!
288 00:52:51,837 –> 00:52:53,771 Matte?
289 00:52:53,805 –> 00:52:55,466 Help!
246 00:47:32,950 –> 00:47:39,410 - Open the god damn door!

– Help!

290 00:52:55,507 –> 00:52:57,873 Turn the handle!
247 00:47:39,500 –> 00:47:41,080 Help!! 291 00:52:58,877 –> 00:53:01,141 Help!
248 00:47:43,700 –> 00:47:44,620 Help!!! 292 00:53:02,481 –> 00:53:04,813 Help!
293 00:53:06,285 –> 00:53:08,549 Help!
294 00:53:09,555 –> 00:53:11,716 Help!
295 00:53:11,757 –> 00:53:14,419 Help!
296 00:53:19,031 –> 00:53:20,623 Help…?
297 00:53:25,337 –> 00:53:26,770 Help!
249 00:48:08,040 –> 00:48:13,490 - Get me down!

– What are you doing up there?

298 00:53:31,810 –> 00:53:34,370 How did you end up there?
250 00:48:21,450 –> 00:48:23,700 Eli… 299 00:53:43,855 –> 00:53:46,483 I’m trapped. Ok, now this is just down right insulting to the audience. We can see that he’s trapped. We can hear him say “Eli”.
WTF, over?
251 00:49:53,950 –> 00:49:58,200 …according to Communist Party Chairman Brezhnev.
252 00:49:58,290 –> 00:50:05,330 An unidentified man was arrested yesterday, charged with murder 300 00:55:16,882 –> 00:55:22,684 …police have not been able to confirm the identity
301 00:55:22,721 –> 00:55:26,054 of the man who was apprehended last night
302 00:55:26,091 –> 00:55:30,152 on suspicion of murder and attempted murder
253 00:50:05,410 –> 00:50:09,580 and attempted murder in VÄllingby, near Stockholm. 303 00:55:30,195 –> 00:55:33,130 in VÄllingby, in western StockhoIm.
254 00:50:09,660 –> 00:50:13,240 The man’s self-inflicted facial wounds 304 00:55:33,165 –> 00:55:35,690 Identification was difficult
255 00:50:13,330 –> 00:50:18,330 make it hard to determine his identity. And now, sports… 305 00:55:35,734 –> 00:55:39,067 because the man injured himself severely before his arrest.
306 00:55:39,104 –> 00:55:41,334 In sports…
256 00:50:22,040 –> 00:50:25,660 Come on in. Through those doors. 307 00:55:44,943 –> 00:55:47,571 Just go in.
257 00:50:42,370 –> 00:50:44,910 Yes? 308 00:56:05,297 –> 00:56:07,424 Yes?
258 00:50:45,000 –> 00:50:49,040 Excuse me, I’m looking for my dad. 309 00:56:07,466 –> 00:56:09,434 Sorry.
310 00:56:09,468 –> 00:56:12,266 I’m looking for my dad.
259 00:50:49,120 –> 00:50:52,490 Has he been admitted to this hospital? 311 00:56:12,304 –> 00:56:14,829 Is he here?
260 00:50:52,580 –> 00:50:55,660 What’s his name? 312 00:56:14,873 –> 00:56:17,603 What’s his name?
261 00:50:55,750 –> 00:51:01,080 He’s sick, the police brought him in. 313 00:56:18,610 –> 00:56:20,805 He’s sick.
314 00:56:20,846 –> 00:56:23,041 The police took him.
262 00:51:01,160 –> 00:51:04,950 Do you know where he is? 315 00:56:24,049 –> 00:56:26,142 Where could he be?
263 00:51:05,040 –> 00:51:08,120 He’s up on the seventh floor. 316 00:56:28,153 –> 00:56:30,644 Then he’s on Level 7.
264 00:51:08,200 –> 00:51:12,660 Only that’s a restricted ward.
I could call them…
317 00:56:30,689 –> 00:56:33,522 But you can’t just go in there.
318 00:56:33,558 –> 00:56:35,719 - I can call–

– No.

265 00:51:12,750 –> 00:51:16,370 That’s all right. 319 00:56:35,761 –> 00:56:38,355 It’s not necessary. If indeed the Magnolia line is a more literal translation, then I like it better. We have seen that when Eli answers questions (if she answers them at all) she typically answers them with the truth – however improbable. It really is unnecessary for the nurse to call.
266 00:51:18,450 –> 00:51:22,370 Oh, you poor thing… 320 00:56:40,966 –> 00:56:43,696 You poor thing.
267 00:52:35,870 –> 00:52:39,330 May I come in? 321 00:57:58,810 –> 00:58:01,335 Can I come in?
322 00:59:36,474 –> 00:59:38,533 Wake up, Virginia.
268 00:54:13,200 –> 00:54:15,580 A kid… 323 00:59:39,678 –> 00:59:43,205 - A kid!
– What goddamn kid?
269 00:54:16,950 –> 00:54:20,410 What kid? 324 00:59:43,248 –> 00:59:46,274 Why the hell would a kid want to kill Jocke?
270 00:54:20,500 –> 00:54:25,240 - Why would a kid kill Jocke?

– l don’t know.

325 00:59:46,318 –> 00:59:48,377 I don’t know.
271 00:54:25,330 –> 00:54:29,740 Jocke’s the sweetest guy there ever was. 326 00:59:48,420 –> 00:59:51,856 Jocke was the kindest person I know.
272 00:54:31,450 –> 00:54:35,370 I’d like to tear that damn kid limb from limb. 327 00:59:54,159 –> 00:59:57,526 I’ll rip that damned kid to shreds.
273 00:54:38,200 –> 00:54:41,370 Oskar! 328 01:00:01,232 –> 01:00:03,393 Oskar!
274 00:54:41,450 –> 00:54:46,160 May I come in? 329 01:00:05,604 –> 01:00:07,663 Can I come in?
275 00:54:47,200 –> 00:54:50,870 Don’t look at me. 330 01:00:10,108 –> 01:00:12,508 Don’t look.
276 00:54:50,950 –> 00:54:54,200 But you have to say that l can come in. 331 01:00:14,179 –> 01:00:16,909 But say I can come in.
277 00:54:54,290 –> 00:54:57,660 You can come in… 332 01:00:18,083 –> 01:00:20,881 Come in.
278 00:55:04,910 –> 00:55:08,950 Close your eyes. 333 01:00:28,093 –> 01:00:30,687 Close your eyes.
279 00:55:18,250 –> 00:55:21,240 How did you get in? 334 01:00:41,272 –> 01:00:44,173 How did you get here?
280 00:55:21,330 –> 00:55:24,950 - I flew.

– Yeah, sure…

335 01:00:44,209 –> 01:00:47,042 I flew.
336 01:00:47,078 –> 01:00:49,774 Okay.
281 00:55:26,410 –> 00:55:30,740 You’re not wearing anything. 337 01:00:49,814 –> 01:00:52,146 But you’re not wearing any clothes.
282 00:55:30,830 –> 00:55:34,330 You’re as cold as ice. 338 01:00:52,183 –> 01:00:55,880 You’re ice cold!
283 00:55:34,410 –> 00:55:37,120 Sorry… 339 01:00:57,389 –> 01:00:59,448 Sorry.
284 00:55:37,200 –> 00:55:40,910 Is that gross? 340 01:01:00,458 –> 01:01:02,688 Is it yucky? Unless the original Swedish word has this connotation, I think that “Yucky” is a bit too childish.
285 00:55:41,000 –> 00:55:44,080 No… 341 01:01:04,896 –> 01:01:07,126 No.
286 00:55:46,370 –> 00:55:52,410 Higgledy-piggledy shout.
How many fingers are out?
342 01:01:09,000 –> 01:01:11,764 ‘Bulleri, bulleri bock
343 01:01:11,803 –> 01:01:15,330 How many fingers am I tapping you with?”
287 00:55:57,870 –> 00:56:00,580 Eli… 344 01:01:21,179 –> 01:01:23,374 Eli…
288 00:56:02,540 –> 00:56:05,830 Want to go steady? 345 01:01:25,650 –> 01:01:27,914 Do I have a chance with you? Although the Magnolia subtitles are distinctly different here, I think the audience still gets the same experience of the scene. However, it might just be me but I think that the phrase “have a chance with you” carries the connotation of “can I have sex with you?” rather than “can I go out with you?” For this reason I personally prefer the theatrical subtitles here. However if that phrase doesn’t carry the same connotation for you, then you probably can’t say that the Magnolia subtitles take anything away from the scene.
289 00:56:09,700 –> 00:56:11,660 What do you mean? 346 01:01:33,158 –> 01:01:35,023 With what?
290 00:56:11,750 –> 00:56:15,370 Well… 347 01:01:35,060 –> 01:01:37,528 I mean…
291 00:56:15,450 –> 00:56:19,120 Do you want to be my girlfriend? 348 01:01:38,630 –> 01:01:41,497 Do you want to go steady?
292 00:56:20,250 –> 00:56:22,540 Oskar… 349 01:01:43,568 –> 01:01:47,629 Oskar,
I’m not a girl.
293 00:56:22,620 –> 00:56:26,950 I’m not a girl.
294 00:56:27,040 –> 00:56:29,160 Oh… 350 01:01:49,607 –> 01:01:51,666 No?
295 00:56:29,250 –> 00:56:32,450 But do you want to go steady or not? 351 01:01:52,677 –> 01:01:54,804 Do I have a chance with you?
296 00:56:32,540 –> 00:56:37,620 Couldn’t we just keep things the way they are? 352 01:01:55,847 –> 01:01:58,475 Can’t we just be like this?
297 00:56:40,870 –> 00:56:43,490 I guess… 353 01:02:04,055 –> 01:02:06,319 Yes.
298 00:56:43,580 –> 00:56:47,370 Do you do anything special when you go steady? 354 01:02:06,357 –> 01:02:09,190 Do you do something special then?
299 00:56:47,450 –> 00:56:50,490 No. 355 01:02:10,695 –> 01:02:12,686 No.
300 00:56:50,580 –> 00:56:55,450 So everything’s the same? 356 01:02:13,698 –> 01:02:16,997 Is everything like usual?
301 00:56:57,370 –> 00:56:59,620 Yes. 357 01:02:20,772 –> 01:02:22,171 Yes.
302 00:57:02,790 –> 00:57:06,120 Then we’ll go steady. 358 01:02:26,077 –> 01:02:28,511 - Then you have a chance
with me.

– What?

303 00:57:06,200 –> 00:57:08,830 It’ll be you and me. 359 01:02:29,514 –> 01:02:31,539 Then we’re together.
304 00:57:08,910 –> 00:57:12,540 Really? 360 01:02:32,550 –> 01:02:36,111 - Really?

– Yes.

305 00:57:16,370 –> 00:57:18,450 Good. 361 01:02:39,924 –> 01:02:42,392 Good.
362 01:03:57,502 –> 01:03:59,470 TO FLEE IS LIFE,

TO LINGER, DEATH.

From watching this first scene with the note, I think the only part you could actually read was “DIN ELI”. That being the case, I think I would agree with not providing subtitles for it here.
363 01:03:59,504 –> 01:04:01,597 YOUR ELI
306 00:59:20,000 –> 00:59:22,540 Listen up!
307 00:59:22,620 –> 00:59:26,870 Lower school, skate with me. 364 01:04:43,348 –> 01:04:45,373 Lower grades, with me!
308 00:59:26,950 –> 00:59:32,370 Middle school, free skating. 365 01:04:45,416 –> 01:04:50,183 Middle grades, free skating.
309 00:59:32,450 –> 00:59:38,120 Watch out for holy, over there. 366 01:04:50,221 –> 01:04:55,750 Watch out for the ice pit over there!
367 01:04:57,462 –> 01:05:00,431 Listen to me!
310 00:59:38,200 –> 00:59:41,870 - Understood?

– Avila…

368 01:05:00,465 –> 01:05:03,229 - Avila…?

– Understood?

369 01:05:03,268 –> 01:05:05,327 Avila…
311 00:59:41,950 –> 00:59:46,240 - lt’s a "hole in the
ice".
– Oh…
370 01:05:05,370 –> 01:05:08,430 - it’s called an ice
hole.

– Ice hole?

312 00:59:47,040 –> 00:59:49,200 I meant hole in the ice. 371 01:05:10,174 –> 01:05:12,904 I mean, ice hole!
313 00:59:49,290 –> 00:59:54,790 - Fancy a swim?

– Beware of holy in ice.

372 01:05:12,944 –> 01:05:15,708 You want to swim?
314 01:00:52,540 –> 01:00:56,620 So, do you want to go swimming? 373 01:06:16,040 –> 01:06:18,508 Are you going to swim?
315 01:01:00,450 –> 01:01:01,540 No. 374 01:06:23,781 –> 01:06:25,180 No.
316 01:01:03,450 –> 01:01:07,870 Mr. Avila, I have to pee. 375 01:06:26,918 –> 01:06:31,252 Teacher, teacher?
I have to go pee.
317 01:01:07,950 –> 01:01:11,580 - Go behind tree.

– On the ice?

376 01:06:31,289 –> 01:06:35,089 - Pee over by the
tree.

– On the ice?

318 01:01:11,660 –> 01:01:16,240 What does it matter?
You make new ice, yellow ice.
377 01:06:35,126 –> 01:06:38,527 So what?
It’ll be new ice. Yellow.
319 01:01:17,620 –> 01:01:20,080 What’s that stick for? 378 01:06:41,065 –> 01:06:43,590 What are you going to do with the stick?
320 01:01:20,160 –> 01:01:24,200 To hit you with, if you try anything. 379 01:06:43,634 –> 01:06:47,263 I’ll hit you–
If you try anything.
321 01:01:24,290 –> 01:01:28,700 Are you a brave pig, all of a sudden? 380 01:06:48,306 –> 01:06:50,536 Did the pig suddenIy get brave?
322 01:01:34,250 –> 01:01:37,870 I’m going to push you, and you aren’t going to do a thing. 381 01:06:57,548 –> 01:06:59,641 I’m going to skate over to you and push you over.
382 01:06:59,684 –> 01:07:01,709 You won’t do anything.
323 01:01:37,950 –> 01:01:40,200 Isn’t that so? 383 01:07:01,753 –> 01:07:03,744 Am I right?
324 01:01:40,290 –> 01:01:46,370 Little piggy watch your
step,
or I’ll get you…
384 01:07:03,788 –> 01:07:06,484 Little piggy…
385 01:07:06,524 –> 01:07:10,016 watch out…
325 01:01:50,580 –> 01:01:52,490 Look! 386 01:07:14,332 –> 01:07:16,391 Look.
326 01:01:54,950 –> 01:01:57,160 Come on. 387 01:07:18,403 –> 01:07:20,871 Come on.
327 01:01:57,250 –> 01:02:01,740 Mr. Avila will freak out… 388 01:07:20,905 –> 01:07:24,898 The teacher’s coming.
He’II be mad.
328 01:02:01,830 –> 01:02:05,540 Are we supposed to just let him stand there? 389 01:07:24,942 –> 01:07:27,843 So are you just going to stand there?
329 01:02:23,120 –> 01:02:26,450 What’s going on?! 390 01:07:46,631 –> 01:07:48,724 What’s going on over there?
330 01:02:26,540 –> 01:02:28,950 What are you up to? 391 01:07:50,201 –> 01:07:52,669 Oskar!

What are you doing?

392 01:08:19,764 –> 01:08:21,959 Come on.
393 01:08:42,887 –> 01:08:46,618 POLICE
331 01:03:24,450 –> 01:03:27,910 Oh yes, they will blame us! 394 01:09:00,404 –> 01:09:02,463 Yes, it is.
Now he’s coming.
So, two lines of dialog just disappear and it’s a more literal translation? Losing the line about “my son doesn’t have a father” definitely diminishes this scene. It underscores how both Oskar’s mother and father here have a critical opportunity to re-engage in his life and they both blow it.
332 01:03:28,000 –> 01:03:36,120 Am I supposed to tell them my son doesn’t have a father?
333 01:03:36,200 –> 01:03:37,830 Yes, it is!
334 01:03:37,910 –> 01:03:40,370 Here he comes.
335 01:03:40,450 –> 01:03:42,790 They called from school. 395 01:09:04,175 –> 01:09:06,837 They’ve called from school.
336 01:03:42,870 –> 01:03:46,580 And you’d better talk to your father, because I… 396 01:09:06,878 –> 01:09:09,346 And you can talk to your dad, because I–
337 01:03:47,870 –> 01:03:50,620 Hello. 397 01:09:11,782 –> 01:09:14,080 Hello?
338 01:03:50,700 –> 01:03:53,160 I’m fine. 398 01:09:14,118 –> 01:09:16,643 I’m okay.
339 01:03:53,250 –> 01:03:55,990 I don’t know. 399 01:09:16,687 –> 01:09:19,053 I don’t know.
340 01:03:56,080 –> 01:04:01,580 Is the bike working? We’ll see. 400 01:09:20,691 –> 01:09:23,524 Come up?
401 01:09:23,561 –> 01:09:25,358 We’II see.
341 01:04:39,620 –> 01:04:42,330 Hello, Oskar. 402 01:10:03,234 –> 01:10:05,828 Hey, Oskar.
342 01:04:44,620 –> 01:04:47,870 So you did go swimming after all? 403 01:10:07,805 –> 01:10:10,296 So you’re going to swim after all.
343 01:04:47,950 –> 01:04:51,450 I’m only kidding. 404 01:10:11,475 –> 01:10:14,273 I’m just kidding.
344 01:05:11,540 –> 01:05:15,700 We’re not really allowed to be in here. 405 01:10:35,433 –> 01:10:37,958 We’re not allowed to be here, really.
345 01:05:15,790 –> 01:05:20,490 But some of the bigger kids hang out here anyway. 406 01:10:40,438 –> 01:10:43,271 This cellar is the best place.
We can do whatever we want.
346 01:05:22,540 –> 01:05:26,990 And you know what? Today. .. 407 01:10:46,110 –> 01:10:51,070 You know, today…
347 01:05:27,080 –> 01:05:31,870 They tried to push me into a hole in the ice, but I … 408 01:10:51,115 –> 01:10:53,379 they tried to throw me into a hole in the ice…
348 01:05:31,950 –> 01:05:39,540 I had this stick, and I hit Conny so hard that he had to go to the ER. 409 01:10:54,385 –> 01:10:56,046 Oskar–
410 01:10:56,087 –> 01:10:58,851 But I had a stick,
411 01:10:58,889 –> 01:11:00,914 and I hit Conny in the head
412 01:11:00,958 –> 01:11:03,188 so he had to go to the hospital.
349 01:05:39,620 –> 01:05:42,540 Oskar… 413 01:11:03,227 –> 01:11:05,559 Oskar…?
350 01:05:44,160 –> 01:05:46,040 Yeah? 414 01:11:06,597 –> 01:11:09,657 Huh?
351 01:05:47,160 –> 01:05:50,490 Bravo! 415 01:11:10,901 –> 01:11:13,028 Hooray!
352 01:06:41,370 –> 01:06:44,700 What did you want us to do? 416 01:12:05,256 –> 01:12:07,622 What were we going to do?
353 01:07:18,830 –> 01:07:21,410 We’re going to mix. .. 417 01:12:42,793 –> 01:12:45,159 We’re going to mix.
354 01:07:21,500 –> 01:07:24,410 It doesn’t hurt. 418 01:12:45,196 –> 01:12:48,427 It doesn’t hurt at all.
355 01:07:26,200 –> 01:07:29,830 All you need to do is poke your finger. 419 01:12:50,334 –> 01:12:52,598 All you have to do is prick your finger.
356 01:07:50,160 –> 01:07:51,120 Eli? 420 01:13:12,123 –> 01:13:15,149 Eli?
421 01:13:19,096 –> 01:13:21,860 Eli?
357 01:07:57,950 –> 01:07:59,540 Go! 422 01:13:21,899 –> 01:13:23,560 Go!
358 01:08:01,540 –> 01:08:05,200 Go away! 423 01:13:25,002 –> 01:13:27,630 Get out of here!
359 01:08:43,750 –> 01:08:48,950 They had to use a chainsaw to get him out. Go tell the cops your story. 424 01:14:07,745 –> 01:14:10,236 Damn it, they had to saw through that ice.
360 01:08:49,040 –> 01:08:53,290 - What’s your problem, Gösta?

– They’ll ask me questions. ..

425 01:14:10,281 –> 01:14:15,184 What the hell are you worrying about?
361 01:08:53,370 –> 01:08:55,370 What do you mean? 426 01:14:15,219 –> 01:14:17,380 Interrogation, and stuff.
427 01:14:17,421 –> 01:14:18,945 Interrogation!
362 01:08:55,450 –> 01:08:59,200 They might shut me into one of those rooms. .. 428 01:14:18,989 –> 01:14:21,981 Maybe they’ll put me in one of those rooms…
363 01:08:59,290 –> 01:09:02,290 …and shine bright lights in my eyes.. . 429 01:14:23,027 –> 01:14:24,995 and shine a light on me–
364 01:09:02,370 –> 01:09:06,910 - Jocke and I were this close.

– l’m sorry, but I can’t…

430 01:14:27,565 –> 01:14:30,363 - Jocke and I, we were this close–

– I’m sorry, I can’t do it.

365 01:09:07,000 –> 01:09:12,700 It’s your duty, you witnessed a crime. 431 01:14:30,401 –> 01:14:32,494 In fact…
432 01:14:32,536 –> 01:14:36,768 it is actually a duty to testify.
366 01:09:12,790 –> 01:09:15,240 Christ… 433 01:14:36,807 –> 01:14:39,605 Hell.
367 01:09:15,330 –> 01:09:19,410 You go on about what a great guy he was… 434 01:14:39,643 –> 01:14:42,737 I have nothing left…
368 01:09:21,000 –> 01:09:24,660 But now that he’s gone, I have nothing left. 435 01:14:44,648 –> 01:14:47,742 now that he’s gone.
369 01:09:26,160 –> 01:09:28,240 Nothing… 436 01:14:52,122 –> 01:14:55,489
370 01:09:28,330 –> 01:09:31,410 - Oh, Lacke…

– Stop it!

437 01:14:55,526 –> 01:14:57,960 - But Lacke–

– Stop that shit!

371 01:09:31,500 –> 01:09:36,240 Don’t you oh, Lacke" me!" 438 01:14:59,930 –> 01:15:02,364 Don’t give me your goddamn ”Lacke, Lacke.”
372 01:09:36,330 –> 01:09:41,370 You don’t get it, you’re so damn cold. 439 01:15:02,399 –> 01:15:04,993 You don’t understand shit.
373 01:09:42,830 –> 01:09:45,160 No one gets it… 440 01:15:13,077 –> 01:15:14,738 You’re cold,
fucking ice cold!
441 01:15:17,781 –> 01:15:21,080 Ow–!
374 01:09:53,700 –> 01:09:56,950 Smooth, Lacke. 442 01:15:22,419 –> 01:15:24,546 You handled that just fucking great, Lacke.
375 01:09:58,450 –> 01:10:02,370 Ginia, please… Wait up! 443 01:15:34,064 –> 01:15:36,692 Virginia!
376 01:10:09,580 –> 01:10:13,410 Could we at least talk about it? 444 01:15:47,411 –> 01:15:49,777 Wait!
Can’t we taIk about it?
377 01:10:23,250 –> 01:10:25,910 Come on… 445 01:16:10,467 –> 01:16:13,163 Listen–
446 01:16:13,203 –> 01:16:16,263 Help me! Help me!
378 01:10:49,040 –> 01:10:51,370 Get off her! 447 01:16:27,451 –> 01:16:29,578 - Get the fuck off
her!

– Help me!

448 01:16:31,589 –> 01:16:33,853 Ginia?
379 01:11:07,200 –> 01:11:10,740 Wait up… You took my lighter. 449 01:16:33,891 –> 01:16:35,882 Wait up!
380 01:11:10,830 –> 01:11:16,330 I didn’t mean it, Ginia… 450 01:18:51,895 –> 01:18:55,160 What’s going on up there?
381 01:11:16,410 –> 01:11:18,790 I love you.
382 01:12:16,540 –> 01:12:20,160 What the hell.. .?
383 01:13:18,330 –> 01:13:20,290 No…
384 01:13:27,330 –> 01:13:31,870 - l didn’t see that coming.

– You never do.

451 01:18:56,300 –> 01:18:58,598 - I didn’t see that one.

– As usual.

385 01:13:31,950 –> 01:13:36,330 - But this time l’ll get you.

– Dream on.

452 01:18:58,635 –> 01:19:00,728 Now I’ll get you.
386 01:13:36,410 –> 01:13:39,660 You go first. 453 01:19:12,382 –> 01:19:15,579 You can always dream.
387 01:13:48,080 –> 01:13:53,330 - Well look who’s here!

– Good evening to you all.

454 01:19:21,558 –> 01:19:24,026 - We have a guest.

– Hello to you.

388 01:13:58,080 –> 01:14:01,950 You look like you’re having a grand old time. 455 01:19:24,061 –> 01:19:26,154 So…
456 01:19:26,196 –> 01:19:28,391 you’re sitting here having a good time.
389 01:14:02,040 –> 01:14:05,450 That’s right. 457 01:19:30,200 –> 01:19:32,668 Yes.
390 01:14:05,540 –> 01:14:10,450 And Oskar’s here… 458 01:19:48,051 –> 01:19:52,010 So Oskar is here.
391 01:14:19,250 –> 01:14:22,700 Right…
392 01:14:23,950 –> 01:14:25,990 Dad… 459 01:19:53,023 –> 01:19:55,116 Dad?
It’s your turn.
393 01:14:26,080 –> 01:14:30,870 - It’s your turn.

– We have guests.

460 01:19:56,193 –> 01:19:58,593 Yes, yes.
But we have a guest now.
394 01:14:30,950 –> 01:14:35,080 It’s nice and cozy in here. 461 01:20:04,568 –> 01:20:06,832 You have it nice and warm in here.
395 01:14:40,120 –> 01:14:44,370 So you had a little something, then? 462 01:20:43,273 –> 01:20:47,073 So there was some at home, after all.
396 01:15:18,620 –> 01:15:25,200 "I must be gone and live,
or stay and die." Yours, Eli.
463 01:20:47,110 –> 01:20:50,511 TO FLEE IS LIFE,
TO LINGER, DEATH.
For me there is no question that I prefer the Magnolia subtitles for the note. When you look at the note it is apparent that it does not have the complex grammar of the theatrical subtitles. Devotees of the novel insist that the note should be translated as a quote from Romeo & Juliette. However nothing else that we see on the screen makes us think that Eli would be quoting Shakespeare to Oskar. Also I definitely prefer “YOUR ELI” to “Yours, Eli”.
464 01:21:42,833 –> 01:21:44,824 YOUR ELI
397 01:16:18,330 –> 01:16:20,540 It ended up all wrong. 465 01:21:44,868 –> 01:21:47,632 It went wrong, you see. The Magnolia subtitles turned Lacke’s little soliloquy to gibberish. Granted, he was just pontificating to a cat…
398 01:16:20,620 –> 01:16:28,450 It was supposed to be great, but their calculations were all wrong. 466 01:21:47,671 –> 01:21:49,832 I had figured it out so it wouId be perfect.
399 01:16:28,540 –> 01:16:31,790 It was all wrong from the start. 467 01:21:49,873 –> 01:21:53,707 Maybe there was something wrong with the set square,
400 01:16:31,870 –> 01:16:36,870 And it just got worse. So when you pass these buildings… 468 01:21:53,744 –> 01:21:56,076 or the ruler, or…
469 01:21:56,113 –> 01:21:58,104 Nothing to be scared of, kitty.
470 01:21:58,148 –> 01:22:01,606 And it was more and more wrong.
471 01:22:01,652 –> 01:22:04,052 And now I walk around and it feels like–
401 01:16:36,950 –> 01:16:41,040 Pretty damn busy around here tonight. 472 01:22:05,289 –> 01:22:07,917 Awful lot of traffic this evening!
402 01:16:41,120 –> 01:16:43,790 Come on in. 473 01:22:23,941 –> 01:22:26,739 Come in!
403 01:16:59,200 –> 01:17:02,950 Ginia? Where the hell have you been? 474 01:22:30,080 –> 01:22:32,241 Ginia! Where the hell have you been?
404 01:17:05,540 –> 01:17:11,080 What’s going on?
I’ve been so damn worried.
475 01:22:32,282 –> 01:22:34,182 What are you doing?
405 01:17:11,160 –> 01:17:17,120 - What’s wrong?

– Leave me alone!

476 01:22:34,217 –> 01:22:36,082 I need to talk to you, damn it!
406 01:17:19,700 –> 01:17:21,790 No… 477 01:22:36,119 –> 01:22:39,088 - We’ve been so fucking worried!

– No!

407 01:17:28,950 –> 01:17:31,540 Open the door, you bastard! 478 01:22:39,122 –> 01:22:41,249 I have to hold you.
479 01:22:43,026 –> 01:22:46,359 We’ve been so fucking worried.
408 01:17:42,120 –> 01:17:45,950 Let go! No… 480 01:22:46,396 –> 01:22:49,126 - Are you crazy?

– Let go of me!

481 01:22:50,400 –> 01:22:52,868 What’s happening with the cats?
482 01:22:52,903 –> 01:22:55,064 What’s happening with the cats?
483 01:23:33,310 –> 01:23:36,302 - Let us out, you bastard!

– Let go of me! HeIp!

409 01:18:08,910 –> 01:18:11,870 Oskar, is that you? 484 01:23:36,346 –> 01:23:38,644 Oskar, is it you?
410 01:18:11,950 –> 01:18:14,370 Yeah. 485 01:24:40,677 –> 01:24:42,838 Yes.
411 01:19:16,080 –> 01:19:20,240 Are you a vampire? 486 01:24:47,417 –> 01:24:50,181 Are you a vampire?
412 01:19:22,700 –> 01:19:27,330 I live off blood… Yes. 487 01:24:50,220 –> 01:24:52,051 I live off blood.
488 01:24:53,824 –> 01:24:56,315 Yes.
413 01:19:29,040 –> 01:19:32,950 Are you… 489 01:24:57,794 –> 01:24:59,785 Are–
414 01:19:33,040 –> 01:19:36,240 …dead? 490 01:25:01,298 –> 01:25:03,493 are you dead?
415 01:19:36,330 –> 01:19:38,870 No. 491 01:25:03,533 –> 01:25:05,524 No.
416 01:19:38,950 –> 01:19:42,330 Can’t you tell? 492 01:25:09,272 –> 01:25:12,332 Can’t you tell?
417 01:19:45,040 –> 01:19:47,370 But… 493 01:25:12,375 –> 01:25:15,867 But are you…
418 01:19:49,580 –> 01:19:52,740 Are you old? 494 01:25:17,214 –> 01:25:20,081 old?
419 01:19:52,830 –> 01:19:55,660 I’m twelve. 495 01:25:20,117 –> 01:25:22,847 I’m twelve.
420 01:19:55,750 –> 01:19:58,950 But I’ve been twelve for a long time. 496 01:25:48,745 –> 01:25:51,270 Though I’ve been 12 for a long time.
421 01:20:24,540 –> 01:20:29,450 Are you like, poor? 497 01:25:54,251 –> 01:25:56,651 Are you guys poor?
422 01:20:29,540 –> 01:20:32,450 See that egg over there? 498 01:25:56,686 –> 01:26:01,055 - You see the egg there?

– Mm-hmm.

423 01:20:32,540 –> 01:20:37,120 If you sold it, you could buy a whole nuclear power plant. 499 01:26:01,091 –> 01:26:02,786 If you sold that you could buy a nuclear power plant.
424 01:20:37,200 –> 01:20:39,290 For real. 500 01:26:02,826 –> 01:26:07,058 It’s true.
425 01:20:39,370 –> 01:20:42,990 Yeah, sure… 501 01:26:10,700 –> 01:26:12,998 Oh. Sure.
426 01:20:46,080 –> 01:20:48,660 Put your finger on it. 502 01:26:29,786 –> 01:26:32,380 Put your finger here.
427 01:21:05,500 –> 01:21:09,790 Where do those rings come from? 503 01:26:32,422 –> 01:26:34,617 Those rings–
504 01:26:39,229 –> 01:26:41,857 where did they come from?
428 01:21:14,750 –> 01:21:17,290 I’m going home. 505 01:26:41,898 –> 01:26:44,298 I’m going home now.
429 01:21:17,370 –> 01:21:20,740 I have flyers to distribute tomorrow. 506 01:26:45,302 –> 01:26:49,068 I’m going to deliver chocolates tomorrow. Chocolates? CHOCOLATES?!?
430 01:21:20,830 –> 01:21:24,490 To make money? 507 01:26:49,105 –> 01:26:51,198 To earn money?
508 01:26:51,241 –> 01:26:53,368 Um-hmm.
431 01:21:26,160 –> 01:21:30,490 I can give you money. 509 01:27:00,617 –> 01:27:02,380 But you can have money from me.
432 01:21:36,040 –> 01:21:40,990 Here. Take it if you like. 510 01:27:02,419 –> 01:27:05,149 Here.
511 01:27:09,893 –> 01:27:13,056 Take it if you want.
433 01:21:45,040 –> 01:21:48,540 You stole this… 512 01:27:14,097 –> 01:27:17,260 You’ve stolen it!
434 01:21:48,620 –> 01:21:52,290 …from the people you killed, right? 513 01:27:17,300 –> 01:27:19,768 As soon as they’re dead, right?
435 01:21:52,370 –> 01:21:55,330 - lt was given to me.

– By who?

514 01:27:19,803 –> 01:27:22,397 - It was given to me.

– By whom?

436 01:21:55,410 –> 01:21:58,700 By different people. 515 01:27:25,842 –> 01:27:28,208 Different peopIe.
437 01:22:01,000 –> 01:22:05,830 I want to go home now. 516 01:27:31,715 –> 01:27:34,513 I want to go home now.
438 01:22:07,200 –> 01:22:10,700 If you’ll let me. 517 01:27:46,796 –> 01:27:50,823 If I may. While the Magnolia subtitle seems to be the more literal translation I think that the theatrical subtitle better captures the meaning in context, based upon how Kåre delivered this line.
439 01:22:21,950 –> 01:22:27,200 It’s time to sell it…
Dad’s stamp collection.
518 01:27:53,470 –> 01:27:56,064 Dad’s stamp collection.
His whole life.
In this scene the audience should be getting a sense for how Lacke really cares about Virginia. Perhaps we should even be touched by how he is trying to cheer her up by envisioning a future with her. He is offering to sell the inheritance he got from his father to make a future with her possible. Instead the Magnolia subtitles turn his lines into gibberish.
440 01:22:27,290 –> 01:22:33,120 What a guy, one stamp… 519 01:28:01,244 –> 01:28:03,508 One stamp…
441 01:22:37,080 –> 01:22:41,990 80,000. Eighty grand. 520 01:28:03,546 –> 01:28:06,845 80000
442 01:22:42,080 –> 01:22:47,950 If you find the right buyer.
I won’t accept any less…
521 01:28:06,883 –> 01:28:09,852 80 big ones!
443 01:22:48,040 –> 01:22:51,910 Then we’ll buy that nice cottage. 522 01:28:09,886 –> 01:28:12,480 Sometimes I tried to be interested.

I said, ”I won’t tell.”

444 01:22:52,000 –> 01:22:56,490 The countryside is so beautiful. 523 01:28:18,328 –> 01:28:21,229 He just said, ”No, there are others.
Thank you very much.”
445 01:22:56,580 –> 01:23:00,620 The two of us can live there. 524 01:28:25,135 –> 01:28:28,901 There isn’t a prettier place.
446 01:23:00,700 –> 01:23:05,120 Listen to the birds sing and grow our own vegetables.. . 525 01:28:30,874 –> 01:28:33,843 Larks, potatoes–
447 01:23:06,330 –> 01:23:09,950 Lacke, you’ve got to help me. 526 01:28:34,911 –> 01:28:37,744 Lacke, you have to help me!
448 01:23:10,040 –> 01:23:12,490 Sure… 527 01:28:37,781 –> 01:28:41,114 Of course.
449 01:23:12,580 –> 01:23:16,240 That kid… 528 01:28:41,151 –> 01:28:44,484 - That child.

– Yeah?

450 01:23:16,330 –> 01:23:21,290 She must have infected me somehow. 529 01:28:46,756 –> 01:28:49,054 She must have infected me.
451 01:23:21,370 –> 01:23:25,830 I don’t want to live. 530 01:29:45,782 –> 01:29:47,249 I don’t want to live.
452 01:24:20,330 –> 01:24:22,580 Good morning! 531 01:29:47,283 –> 01:29:51,947 Good morning!
453 01:24:22,660 –> 01:24:26,450 Things are looking up.
You can probably go home today.
532 01:29:51,988 –> 01:29:54,081 This looks good–
you’ll be able to go home today.
454 01:24:26,540 –> 01:24:29,740 Won’t that be nice? 533 01:29:55,825 –> 01:29:59,192 Good.
455 01:24:29,830 –> 01:24:33,160 I’ll just unlock this. 534 01:29:59,229 –> 01:30:01,993 I’ll just open this…
456 01:24:33,250 –> 01:24:38,160 And take a blood sample. There… 535 01:30:02,031 –> 01:30:04,022 and take a little blood sample.
457 01:24:40,700 –> 01:24:42,790 Listen… 536 01:30:05,368 –> 01:30:08,303 There.
537 01:30:09,906 –> 01:30:12,807 - Sir?

– Yes?

458 01:24:45,000 –> 01:24:48,660 Could you open the blinds? 538 01:30:13,877 –> 01:30:16,345 Could you open the shutters, please?
459 01:24:48,750 –> 01:24:53,620 Sure… No problem. 539 01:30:29,225 –> 01:30:31,921 Sure.
460 01:25:04,200 –> 01:25:08,450 Hand over your cap. Do it! 540 01:30:31,961 –> 01:30:35,260 Give me the cap.
461 01:25:08,540 –> 01:25:11,370 What’s your problem? Give it to me. 541 01:30:36,766 –> 01:30:38,893 Give it to me!
462 01:25:11,450 –> 01:25:15,160 What are you, some kind of moron?

Give it to me.

542 01:30:47,477 –> 01:30:50,275 Are you stupid?
463 01:25:15,250 –> 01:25:17,700 Go for it, Conny!
464 01:25:19,000 –> 01:25:22,700 - Put up a fight.. .

– Are you blind as well as deaf?

465 01:25:22,790 –> 01:25:25,870 - Hey…

– What’s up?

543 01:30:50,313 –> 01:30:51,803 - Hi.

– Hi. What’s up?

466 01:25:25,950 –> 01:25:29,330 Could I borrow your keys?
I want to go home.
544 01:30:51,848 –> 01:30:54,942 Can I borrow the keys?
545 01:30:54,984 –> 01:30:57,418 - Why?

– I’m going home.

467 01:25:29,410 –> 01:25:33,830 - Sure. Here you go.

– Thanks. See you later.

546 01:30:57,454 –> 01:30:59,445 Sure. Here.
468 01:25:33,910 –> 01:25:37,580 - Who’s the boss at your house?

– Well, well…

547 01:31:28,985 –> 01:31:31,783 Thanks.
469 01:25:37,660 –> 01:25:43,370 - What are you laughing at?

– Are you hard of hearing, Conny?

470 01:26:04,120 –> 01:26:07,330 - Hey.

– Hi.

548 01:31:40,930 –> 01:31:43,228 - Hi.

– Hey.

471 01:26:15,830 –> 01:26:19,160 You have to invite me in. 549 01:31:44,234 –> 01:31:46,395 You have to ask me in.
472 01:26:19,250 –> 01:26:23,870 What happens if I don’t? 550 01:31:48,671 –> 01:31:50,730 What happens if I don’t?
473 01:26:23,950 –> 01:26:26,620 What happens if you walk in anyway? 551 01:31:51,808 –> 01:31:55,175 What happens if you come in anyway?
474 01:26:26,700 –> 01:26:30,990 Is there something in the way? 552 01:31:57,981 –> 01:32:00,313 Is there anything in here?
553 01:32:03,620 –> 01:32:06,316 Tsk-tsk-tsk… I’m so glad they translated this for me. I would have had no chance of understanding the film without it. ;-)
554 01:32:59,542 –> 01:33:01,203 Tsk-tsk-tsk.
475 01:27:34,120 –> 01:27:35,870 No! 555 01:33:01,244 –> 01:33:04,236 No!
476 01:27:35,950 –> 01:27:40,450 You can come in! 556 01:33:15,124 –> 01:33:17,388 You can come in!
477 01:27:50,120 –> 01:27:55,120 Who are you? 557 01:33:19,896 –> 01:33:22,694 Who are you?
478 01:27:55,200 –> 01:27:57,450 I’m like you. 558 01:33:22,732 –> 01:33:25,166 The same as you.
479 01:27:57,540 –> 01:28:00,040 What do you mean? 559 01:33:25,201 –> 01:33:28,967 What?
480 01:28:00,120 –> 01:28:03,740 What are you staring at? Well? 560 01:33:29,005 –> 01:33:31,940 ‘What are you looking at, huh?
481 01:28:03,830 –> 01:28:06,990 Are you looking at me? 561 01:33:31,975 –> 01:33:36,071 Are you looking at me?
482 01:28:07,080 –> 01:28:09,160 So scream! 562 01:33:38,247 –> 01:33:41,216 Then squeal like a pig!
Squeal!”
483 01:28:09,250 –> 01:28:11,370 Squeal!
484 01:28:13,580 –> 01:28:18,660 Those were the first words I heard you say. 563 01:33:45,755 –> 01:33:47,780 That was the first thing I heard you say.
485 01:28:20,910 –> 01:28:23,950 I don’t kill people. 564 01:33:47,824 –> 01:33:49,189 I don’t kill peopIe.
486 01:28:24,790 –> 01:28:29,410 But you’d like to, if you could… 565 01:33:49,225 –> 01:33:52,160 No…
566 01:33:52,195 –> 01:33:54,026 but you’d Iike to,
567 01:33:54,063 –> 01:33:56,998 if you couId.
487 01:28:29,500 –> 01:28:34,370 To get revenge. Right? 568 01:33:57,033 –> 01:33:59,228 To get even.
569 01:33:59,268 –> 01:34:01,031 Right?
488 01:28:34,450 –> 01:28:35,740 Yes. 570 01:34:01,070 –> 01:34:03,698 Yes.
489 01:28:35,830 –> 01:28:39,660 I do it because l have to. 571 01:34:07,343 –> 01:34:09,937 Oskar, I do it because I have to.
490 01:28:42,330 –> 01:28:46,700 Be me, for a little while. 572 01:34:33,603 –> 01:34:36,333 Be me a little.
491 01:29:08,620 –> 01:29:13,370 Please… be me, for a little while. 573 01:34:36,372 –> 01:34:39,307 Please, Oskar…
574 01:35:31,828 –> 01:35:34,763 be me a little.
492 01:30:07,040 –> 01:30:11,580 You can borrow one of my mom’s dresses. 575 01:36:10,032 –> 01:36:13,399 You can borrow a dress from my mom.
493 01:30:44,790 –> 01:30:46,620 Oskar… 576 01:36:20,777 –> 01:36:24,304 Oskar, can you open?
494 01:30:46,700 –> 01:30:51,160 Let me in. 577 01:37:56,639 –> 01:37:59,699 Coming!
I’m in the bathroom.
495 01:30:52,540 –> 01:30:55,740 What are you up to?
496 01:30:55,830 –> 01:30:59,950 I’m in the bathroom, I’m coming.
497 01:31:00,040 –> 01:31:02,660 Let me in, Oskar…
498 01:32:31,200 –> 01:32:36,660 Hi, I’m in the bathroom. Please don’t go in. Want to hang out tonight? 578 01:37:59,742 –> 01:38:02,802 HI! I’M IN THE BATHROOM. PLEASE DON’T COME IN. While I think that “DO YOU WANT TO MEET ME TONIGHT?” is basically the same as “Want to hang out tonight?”, once again I absolutely prefer “YOUR ELI” to “Yours, Eli”. I have to give the win to Magnolia on this one.
579 01:38:02,845 –> 01:38:06,008 DO YOU WANT TO MEET ME TONIGHT?
499 01:32:36,750 –> 01:32:40,450 I really like you. Yours, Eli. 580 01:41:56,479 –> 01:41:57,605 I LIKE YOU SO MUCH. – YOUR ELI
500 01:36:27,120 –> 01:36:29,830 I can’t see a thing… Omitting this line caused me to have a significantly different perception of Lacke. I discuss this topic here.
501 01:36:30,790 –> 01:36:31,830 No! 581 01:41:57,646 –> 01:41:59,807 No!
582 01:42:08,257 –> 01:42:11,522 Huh?
502 01:36:44,500 –> 01:36:47,540 Let go of me! 583 01:42:59,175 –> 01:43:01,700 Let go! Let go!
503 01:37:33,410 –> 01:37:36,580 Thank you. 584 01:43:05,915 –> 01:43:08,383 Thank you.
504 01:37:40,370 –> 01:37:43,040 Oskar… 585 01:43:12,421 –> 01:43:15,288 Oskar…
505 01:37:47,080 –> 01:37:49,450 I’ve got to go away. 586 01:44:36,672 –> 01:44:40,972 I have to go.
506 01:39:11,830 –> 01:39:16,830 WHO KILLED THE MAN lN THE ICE? 587 01:46:46,268 –> 01:46:48,236 WHO MURDERED THE MAN IN THE ICE?
507 01:41:20,830 –> 01:41:25,450 Hello? Is that you, Oskar? 588 01:46:48,270 –> 01:46:50,966 Hello.
508 01:41:25,540 –> 01:41:30,830 It’s me, Martin. Mr. Avila wanted to know if you’re coming tonight. 589 01:46:51,006 –> 01:46:53,099 - Oskar, are you there?

– Yeah.

590 01:46:53,142 –> 01:46:56,771 It’s Martin.
591 01:46:58,147 –> 01:46:59,944 Teacher was wondering if you’re coming to practice tonight.
509 01:41:32,290 –> 01:41:34,370 Why? 592 01:46:59,982 –> 01:47:02,974 How come?
510 01:41:34,450 –> 01:41:38,870 I guess he just wanted to know. 593 01:47:04,520 –> 01:47:07,717 Don’t know.

He was just wondering.

511 01:41:38,950 –> 01:41:41,370 Maybe he wants you to be there. 594 01:47:07,756 –> 01:47:10,316 Maybe he wanted you to come.
512 01:41:41,450 –> 01:41:45,200 I’m not sure. . . 595 01:47:10,359 –> 01:47:12,156 I don’t know…
513 01:41:45,290 –> 01:41:49,490 It was good, by the way…
What you did to Conny.
596 01:47:12,194 –> 01:47:15,129 By the way…
597 01:47:15,164 –> 01:47:17,655 I think it was good, what you did to Conny.
514 01:41:49,580 –> 01:41:54,830 - He had it coming.

– What an actor. . .

598 01:47:17,699 –> 01:47:20,463 He needed it.
599 01:47:20,502 –> 01:47:22,834 Damn, he’s good at acting!
515 01:41:54,910 –> 01:41:57,040 Do you think so? 600 01:47:22,871 –> 01:47:25,396 - You think so?

– Yes.

516 01:41:57,120 –> 01:42:00,330 So, are you coming tonight? 601 01:47:26,475 –> 01:47:31,435 You coming to training tonight?
602 01:47:50,265 –> 01:47:52,927 POOL
517 01:42:24,330 –> 01:42:29,080 - Good , Oskar.

– Hi. . .

603 01:47:53,936 –> 01:47:56,234 Hi, Oskar.
518 01:42:35,040 –> 01:42:38,700 Hello, Oskar. 604 01:48:00,943 –> 01:48:03,138 Hi.
519 01:42:41,950 –> 01:42:44,660 Hello. 605 01:48:07,950 –> 01:48:10,578 Hey, Oskar.
606 01:48:10,619 –> 01:48:12,814 Hey.
520 01:42:44,750 –> 01:42:49,080 Come, we’ll start with aqua aerobics. 607 01:48:26,201 –> 01:48:28,465 Now we’ll start water exercises.
521 01:43:00,080 –> 01:43:02,740 Hurry up! 608 01:48:41,183 –> 01:48:42,878 Hurry up!
522 01:43:15,080 –> 01:43:17,240 Come on, Oskar! 609 01:48:42,918 –> 01:48:45,978 Come on, Oskar!
523 01:43:20,200 –> 01:43:22,700 Move your body. . . 610 01:48:46,021 –> 01:48:48,012 Vamos, vamos!
Uno, dos, uno dos–
LOL. It was nice of Magnolia to translate Spanish into Spanish for me.
611 01:48:57,866 –> 01:49:00,528 keep going!
524 01:43:31,870 –> 01:43:34,660 What? Christ. . . ! 612 01:49:17,953 –> 01:49:20,717 What? Damn it!
525 01:43:50,750 –> 01:43:54,490 Call the fire department! Fire! 613 01:49:42,611 –> 01:49:44,670 Call the fire department!
Fire!
526 01:44:16,410 –> 01:44:19,700 Beat it! 614 01:49:45,681 –> 01:49:47,672 Get out of here!
527 01:44:19,790 –> 01:44:22,740 Clear out! 615 01:50:24,586 –> 01:50:27,054 Out!
528 01:44:58,700 –> 01:45:02,120 Do you know who I am? 616 01:50:28,523 –> 01:50:30,388 Do you know who I am?
529 01:45:02,200 –> 01:45:06,660 - Yes. . .

– Good . Then you get it.

617 01:50:30,425 –> 01:50:32,325 - Yes.

– Good.

618 01:50:32,361 –> 01:50:34,192 Then you understand.
530 01:45:06,750 –> 01:45:10,040 We’re going to have a little contest. 619 01:50:35,998 –> 01:50:38,523 We’re going to have a little contest now.
531 01:45:10,120 –> 01:45:13,490 You stay under water. . . 620 01:50:40,168 –> 01:50:42,363 You’ll stay under water…
532 01:45:14,290 –> 01:45:16,540 . . .for three minutes. 621 01:50:42,404 –> 01:50:45,305 for three minutes.
533 01:45:16,620 –> 01:45:20,200 If you can do it, l’ll just nick you . 622 01:50:46,541 –> 01:50:49,135 Do that, and it’s just a little scratch.
534 01:45:20,290 –> 01:45:23,240 But if you can’t, 623 01:50:49,177 –> 01:50:52,146 If you don’t…
535 01:45:23,330 –> 01:45:25,830 I’ll poke one of your eyes out. 624 01:50:52,180 –> 01:50:54,239 I’ll cut out your eye.
536 01:45:25,910 –> 01:45:30,660 An eye for an ear, right? 625 01:50:56,551 –> 01:50:59,611 An eye for an ear, okay?
537 01:45:30,750 –> 01:45:33,620 But that’s impossible. 626 01:50:59,655 –> 01:51:01,987 But… it’s impossibIe.
538 01:45:33,700 –> 01:45:36,450 That’s your problem. 627 01:51:14,970 –> 01:51:17,370 That’s your problem.
539 01:45:48,910 –> 01:45:52,740 Three minutes. 628 01:51:18,373 –> 01:51:20,102 Three minutes.
540 01:45:52,830 –> 01:45:56,620 Better take a deep breath. 629 01:51:22,577 –> 01:51:24,772 Breathe now!
541 01:45:56,700 –> 01:46:01,410 Five, four, three. . . 630 01:51:24,813 –> 01:51:26,576 Five…
631 01:51:26,615 –> 01:51:27,741 four…
632 01:51:27,783 –> 01:51:30,251 three…
542 01:46:01,500 –> 01:46:05,240 . . .two, one. 633 01:52:08,490 –> 01:52:10,822 two… one.
543 01:46:42,160 –> 01:46:44,450 - Jimmy. . .

– Shut up!

634 01:52:10,859 –> 01:52:13,726 - Jimmy–

– Shut up!

544 01:46:44,540 –> 01:46:47,790 - Let’s go, Conny.

– l told you to shut up!

635 01:59:15,717 –> 01:59:25,490 - Let’s get out of
here.

– Shut up, I said!

LET THE RIGHT ONE IN