6 comments for this entry:
  1. Joyelle McSweeney

    Well, I’m *real* excited about the Weiner-like morse code at the end! And I’m really not excited that this remake seems to have removed the immigration allegory present in the original, in that Eli (the girl) was visually (and by her strange name)marked as ‘not from around here’, which leant a whole different aura to her contagious violence. I realize that as a populace we are probably not ready to receive a movie that would have, say, a Mexican-American vampire wreaking vengeance on a remote Wonder Bread American town… And I should add that the Swedish director disowned the immigration-allegory reading of his movie, as I recall… Though if Swedish readers are reading this, please weigh in! And what do I know– maybe the blonde character in this movie is Mexican or Mexican-American…
    JM

  2. john

    “From the Director of CLOVERFIELD” is as bad as it sounds. I remember reading an interview several months back in which he assured audiences he would clear up some of the ‘ambiguities’ of the Swedish version (which, I guess, would include a titular allusion to Morrissey).

    Another interesting move is that rather than set it in an American form of subsidized housing (say, the projects), which would likely encourage placing racial minorities in all of the big roles, the director decided to set in a housing complex that has what you can imagine he thinks of as a “cool and eerie glow like in the Swedish movie” – of course with warmer light and crisper snow.

  3. Danielle

    Big Q for me: why did both directors choose such a sweet, delicate little fella when the novel’s main boy was supposed to be a bit hulking? On these little guys, tree stabbing looks so ludicrous, you can’t at all picture them as future serial killers (something in here about girls-abjection-cuteness-violence). Their beauty necessitates a sympathetic male gaze, which the novel’s boy would n-o-t. And where’s all the candy hoarding?

  4. Joyelle McSweeney

    Interesting, Danielle– I like that these are sissy boys– because in my mind it evokes a future political alliance between the queers, immigrants, the disabled and all the weaker parties against the system that oppresses them…under the flag of Morissey.

  5. Johannes

    Here’s a link to what I wrote on Exoskeleton about Let the Right One In. Also some interesting comments.

    http://exoskeleton-johannes.blogspot.com/2009/03/let-right-one-in-some-thoughts.html

  6. Danielle

    Oh, I like that reading, Joyelle! But, still, I miss the element of the novel where Oskar is an underdog one can’t quite root for without overcoming ableist/fatist/beauty ideal biases. And I’d be really curious to see if an overweight, less visually sympathetic, urinates on himself constantly Oskar got a similar critical treatment to Precious Jones. Would there be the same sort of ridiculous conflations between actor & character? The same sort of blithely unaware ableist / beauty-junkie gag fest (i.e. the New Yorker reviewer who referred to Sidibe’s weight as a ‘sad limitation’ that made it difficult to read her expressions)? Dunno…