David O'ConnellLet Me In
October 11th 2010 05:35
Tomas Alfredson’s Let the Right One In (2009) was a near masterpiece and one of the finest films of the decade so far. Mention of an American remake provided a chilling prospect in waiting: a crass, commercialised regurgitation that might render an almost perfect piece of cinematic art impotent. Offering a ray of hope, the creative reins were handed to J.J. Abrams understudy Matt Reeves who, admittedly, did a first-class job on the inventive and novel video-cam, monster mash, Cloverfield (2008).
Doubling as screenwriter, Reeves has made cosmetic changes to John Ajvide Lindqvist’s original adaptation of his own novel and though none add much in the way of finely nuanced detail, neither do any feel like a meddlesome distraction. In his version, the names have been changed to protect the innocent: lonesome and bullied outsider Oskar becomes Owen (Kodi Smit-McPhee), whilst eternal 12 year-old Eli has morphed into Abby (Chloe Moretz) the new neighbour who harbors a secret life and a very peculiar calling.
It's inevitable that any copy of Let the Right One In is going to come off second best in a direct comparison. The trick is to try and appraise this work on its own merits - no simple task when you consider it's trailing the shadow of a landmark genre film.
Let Me In, thankfully, is no botched attempt to capture the spirit of Lindqvist’s tale. (Indeed the author himself has roundly praised this version, claiming it moved him in subtle but different ways to Alfredson’s film). There’s no denying that it’s extremely well crafted, performed convincingly, and conveys an underlying atmosphere of dread that’s essential to complimenting the bond between Owen and Abby who draw strength and courage from one another.
Despite a generally positive reception however, I'd still conclude that the relationship between Owen and Abby is lacking the conviction of the original. It’s not so much an issue with the actors but the absence of some intangible quality which provided an elusive, hypnotic edge in Let the Right One In.
Moretz was sensational in Kick-Ass. She’s more subdued here and although never missing a beat, her performance doesn’t feel quite as representative of the character as that of Lina Leandersson. On the surface there does seem less ambiguity in Abby’s sexuality here. Smitt-McPhee exhibits just the right amount of vulnerability in his pale-faced, forlorn demeanor, but again, doesn’t quite reach a level of symmetry with Kare Hedebrant’s truly exceptional performance.
Richard Jenkins does a decent job as Abby’s ‘father’, the person with the odious task of supplying her with sustenance through the taking of lives. Then there’s Elias Koteas in the role of a detective on the periphery attempting to put the pieces together. Cara Buono plays Owen’s mother, though we never glimpse her features in full detail in what amounts to an eccentric touch from Reeves and his talented Australian cinematographer Greig Fraser.
The score makes for another interesting debate. Michael Giacchino has carved out startlingly fresh terrain in his remarkable work on TV series Lost over the course of six seasons. He piles on the atonal menace here with occasional fragments of hesitant melody, but as effectively as it serves the film I found myself longing for the haunting, cathartic beauty of a main theme in the vein of Johan Soderqvist’s magnificent 'Eli’s Theme' which provided Let the Right One In with a couple of its more transcendent moments down the stretch.
For me it was a strange watching this film unfold (as it will be for many others as well I’m sure). Because it mirrors Let the Right One In so faithfully, I continually found myself thinking ahead as every scene began, imagining how it would play out instead of enjoying the moment as you normally would if going in with a clean slate. And yet, despite this I wasn’t disappointed for the most part with these slavishly recreated moments, the fine set-pieces carried off with great precision. The CGI-assisted attack scenes are a slight-let down, certainly, by they still qualify as decent shock moments.
So while Let Me In is an absorbing tale in its own right and the rare case of a worthy remake, it’s only real lasting value for rabid devotees of the original like myself may be to further illustrate how masterful Let the Right One In truly is.
Let Me In opens in Australia this Thursday, October 14.
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Comment by Matt Shea
Comment by Bryn
Horrorphile
Apparently Stephen King has been quoted as saying it's the best American horror in twenty years ...
Say wha ..??!! Has King lost his marbles? Presumably so, since he has no qualms championing an American remake of a European movie. Christ, what next? Twilight: Eclipse to be nominated for an Oscar ...?
The only bit that truly impressed me in Let Me In, was Virginia chewing on her arm. And also the opening credit sequence with the choir music changing into minor chord.
But like you say, it's not a badly made movie, in fact I'd give it 3/5, but for the life of me, I can't not compare it. Maybe if it hadn't been made so close to the original ...
But then Quarantine was made even closer, and that was a great remake.
Comment by ShaunK
Screen Adventure
Comment by Deni
Abstract Magick
Cinema Herald
Comment by JohnDoe
Film & TV on DVD
I know I couldn't help but compare the two because the original had such an impact on me.
That being said this one offers little temptation purely because it seems to offer nothing new. Will probably give it a DVD screening just for the hell of it sometime.
Comment by Bryn
Horrorphile
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
But true, you wouldn't be missing out on much if you wait for DVD.
Absolutely Bryn, I saw that King quote as well. I love the guy as much as anyone but he is very prone to saying stupid things and becoming a champion for movies and books that your average person of intelligence wouldn't give a second glance.
Virginia chewing on her arm was great but the fire was probably the most over-the-top scene in the film and felt a bit out of place.
Thanks Shaun, I was very apprehensive going in too, just praying that it wouldn't be a train wreck. It was a pleasant surprise to find out how strong it is but still, did the world really need it? The answer apparently is yes - the world (i.e. America) - did need it. You see, a direct and deadly correlation between brain tumours and reading subtitles has been discovered.
Cheers Deni, will look forward to your own opinion on it too! I thought Chloe was the greatest thing since sliced bread after Kick-Ass. She was slightly disappointing here but certainly had big boots to fill.
JD, glad to know that you're another Let the Right One In diciple too! Like Matt, you're not going to lose a lot waiting for the DVD of this however.
Comment by Deni
Abstract Magick
Cinema Herald
Keep in mind that I haven't seen the remake yet. I have no idea what compromises you're talking about. I just read his quote which has made me curious about seeing this one more since when I first heard about the news of a remake. That coupled with the fact that many people are saying that it does follow the original.
Of course there needs to be some "changes/compromises", when doing a remake you can't very well make an exact replica. That would really put him further back in the doghouse.
Regardless I'm looking forward to seeing this movie based on it's own merit. I'm not expecting to be bowled over but I am curious to see what Reeves' "personal" vision of the film is by keeping i mind that it is his personal vision.
Comment by Bryn
Horrorphile
(Tell Gus Van Sant that you need to make changes/compromises when making a remake!)
Reeves had no personal vision with Let Me In. If it was a personal vision, he would have written an original screenplay. He even duplicates entire lines of dialogue and mise-en-scene. The only "original" things he does with Let Me In is take a sequence from the middle of the original movie and put it at the beginning, and makes the odd decision to not reveal Owen's mother's identity, supposedly to highlight Owen's detachment from her, but it only serves as distraction.
Reeves has opted to turn an elegant, darkly poetic and dramatically dynamic horror movie into fastfood cinema for the masses; no gristle or bone, no gourmet taste, no slow food. Instead one with fat (overlong), added food colouring (CGI), packaged (starlets), and with a dinky catchy abbreviated title.
Pardon my vitriol, but I felt I needed to extrapolate.
Comment by Deni
Abstract Magick
Cinema Herald
Even the original movie doesn't follow the novel, from what I hear, so that's not such a bad thing (even though it does help that the author adapted his own work).
I'm glad you've had your chance to vent. You're preaching to the choir though...I feel the same about remakes. I still appreciate the fact that doing a remake is a double-edged sword - on the one hand you can't make the movie exactly like its predecessor and on the other hand if you make significant changes you're still screwed. And people who have close ties with the original especially will just never be satisfied. I think it's smart that Reeves did keep certain aspects the same as the original so as not to alienate the core audience that has ties to the original - personally I don't think he had any other choice - veer too far off and it would have been disastrous!
However there just might be some good that come out of this - perhaps just perhaps this remake will lead others to the original.
As for me, while I really liked the original, like Matt, I'm not bowled over by it but more than anything I would really love to read the novel. Still, I look forward to seeing what Reeves does with this one.
Comment by Bryn
Horrorphile
It's curious what novelist Lindqvist chose to leave out when he wrote the screenplay. I agree, tis good he did the adaptation. But I feel very disappointed in Reeves for not retaining one of the key character elements of both the novel and the first movie, which is that Eli was once a boy. It seems Abby is simply Abby, a female vampire trapped in a young girl's body.
As for the the guardian/"Father" character ... My wife reckoned the darker part of their relationship was still evident in Reeves, but I beg to differ ...
Be curious to hear your thoughts then on the remake.
Thanks for accommodating my vent. Sometimes I can get overly passionate!
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
I will sink my fangs into this one at the cinema methinks, in order to give it the nest chance of impressing...
I am yet to see the original, so, it will be interesting to then go back and seek it out after the US version.
cheers
fog
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
cheers
fog
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