Let The Right One In Analysis

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Let The Right One In
Let The Right One In is a Swedish film set in the 1980’s. The plot reveals an awkward twelve-year-old boy named Oskar. Oskar is not like most kids his age; he has weird hobbies, such as keeping newspaper clippings of the murders happening just outside his small town. His barely-there parents are divorced so he alternates between their homes. When he is alone, Oskar often imagines killing his classmates who regularly bully him. Oskar meets Eli, a supposedly twelve-year-old girl who has just moved into the next-door apartment beside his with Hakan. Unbeknownst to him, Eli is a vampire and Hakan is her “helper”. Though Eli at first mentions to Oskar they cannot be friends, she ends up solving the Rubik cube that he offered her and meets him again on the jungle gym.
Amidst this “blooming” young love, the question of whether Eli was actually grooming Oskar to be the “new Hakan” is really a paradox for the audiences, in which Eli’s actions can either be interpreted as manipulative or just helping a friend in need. The string of murders in the beginning of the film is to no surprise Hakan’s doing. Hakan kills people – usually young men – for Eli to feed. His love towards Eli also allows audience to speculate if he was a pedophile. However, Eli mentions to Oskar she has been “12 for a while”, implying her immortality and thus making her much older than Hakan and Oskar, paradoxically making her the pedophile.
Eli’s gender remains unclear throughout the film. Eli tells Oskar that “I’m not a girl” in which he ignores. But a glimpse of Eli’s mutilated genitalia implies that she was once in fact a boy and someone had castrated him. If so, it would mean that Oskar is gay and perhaps sublimating his sexuality for violence....

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...e refuses to accept the money that Eli steals from the people she kills.
Like the Rubik cube, it signals a sub-level of thinking in the film. It took me two viewings to start putting the pieces together. On the surface it appears to be two twelve-year-olds forming a genuine friendship. But very subtly, the film brings about matters of homosexuality, pedophilia and necrophilia, all of which are taboos and harshly rejected by society. Though considered a romantic horror movie film, I loved how it was really more “dark” than scary. The film appears simple, but imploring a “less is more” concept. Its ambiguity (which I’m fairly frustrated with) allows for many interpretations. On the side note, I really enjoyed the film’s soundtrack by Johan Söderqvist. There were no jump scares exaggerated with loud music but rather this same eerie tune playing throughout the film.

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