By Lindsay Renner, Advertising Editor
American vampire films these days tend to feature pale men and women with undeniable sex appeal as their otherworldly protagonists, and also tend to be love stories rather than pictures that focus on the true nature of monsters. To many, this is a mockery of the genre. However, now there is a picture out that represents a switch from what has become the typical American vampire movie to the older standard of horror.
Let Me In, directed by Matt Reeves, was adapted from the 2008 Swedish film Let the Right One In: in fact, the original film was adapted from a novel of the same name. Though there are certainly differences between the two films, the plot line remains largely the same as the original film. The film set in Los Alamos, New Mexico in 1983 focuses on a preteen outcast named Owen (Kodi Smit-McPhee) and his blossoming relationship with his new neighbor Abby (Chloe Moretz). Owen has problems at home and school, and spends the majority of his time alone until he notices Abby and her “father” moving in next door. It quickly becomes apparent that Abby is not like other children; she does not attend school, or go out in daylight. Though Abby rejects Owen’s initial attempts at camaraderie by telling him right off the bat, “I can’t be your friend,” the two soon forge a close relationship. Through Abby, Owen learns to stand up for himself.
While Abby and Owen’s relationship grows, one cannot ignore what she really is: a vampire. In her own words, she has “been twelve for quite some time.” Her father is actually her guardian. He “hunts” for Abby, and helps her provide a ruse of normalcy. The film lets the viewer know in no uncertain ways exactly what it is that Abby needs to live. The contrast between her protective, childlike relationship with Owen and her inhuman proclivities lends the film some of its most shocking scenes. It is utterly disarming to see a 12 year old girl on the hunt for blood; the director knows this fact, and capitalizes upon it.
Stylistically, this film is generally unremarkable. It relies heavily on dark lighting and slightly obscured camera angles, as horror films are wont to do, and the film’s strongest scenes come in times of violence. The pool scene near the ending, which ultimately marks Owen’s departure from the real world and journey into a dark, lifelong commitment, is just as dark and depraved as it is in the original film.
Ultimately, this film is much more than a vampire film, much like how The Exorcist is about more than a girl possessed by the devil. Through the scenes in Let Me In, one sees the story unfold of a shy boy and a girl who is not really a girl. The theme of young love is nothing new, but adding vampirism and eternal commitment to the mix makes for an interesting film that will not disappoint fans of the original.
