Let the Right One In

Let the Right One In is an interesting take on the traditional vampire narrative, especially the relationship between the young characters of Eli and Oskar.  When comparing this film to the more traditional vampire films from the past, we notice some important differences that perhaps can help us look deeper into their romance.  One of the first things I noticed about this film, particularly with the characters, was their ages and their unique circumstances.  Typically the vampire in the traditional narrative emanates power.  While Eli has power, it is not physically represented as she is young, not particularly wealthy, and not irresistibly beautiful as we are used to vampires being.  Her consort, Oskar, is likewise unusual and, traditionally, fits the mold, so to speak.  He is likewise not handsome, is not part of the elite, and is not overly rich.  These likenesses could be said to be what draws them together, yet underlying their outward characteristics is another commonality that is only eluded to. 

When we are first introduced to Eli, it is by her caregiver.  Instead of Eli prowling the streets, which is typical of vampires in a traditional sense, she has a caregiver, though we are unsure as to why.  Based on her attack of Jocke, it is clear she is strong enough to handle herself, so her having someone to kill for her, and even scold her when she takes care of things herself, is curious.  The role her caregiver has aside from feeding her, I believe, is something worth looking at.  Though their relationship in public is clearly one of servant to master, Eli’s caregiver appears to have deeper feelings as we see when he requests Eli not to see Oskar in a way that sounds almost jealous.  Additionally, we see the pleasure on his face when Eli touches his face right before he leaves for his second attempt at murder that is not representative of the servant to master relationship.  Once he is gone, Eli is in need of another caregiver and it seems that she inadvertently chooses Oskar, who first begins as a romantic interest, but perhaps would eventually mirror the relationship Eli has with her caregiver. 

The other side of Eli and Oskar’s relationship, I believe, is darker.  The fact Oskar is troubled due to his getting bullied leads to his being more violent in private, a malicious desire that seems to grow as his relationship with Eli grows.  For instance, when he is unaware of what Eli truly is, Oskar’s compulsions are limited to private sessions with his knife. After their relationship grows, Oskar sort of embraces his darker side as is seen when he taunts Eli into entering his house without his permission.  Again we see his changing persona the first time he witnesses Eli murder Lacke, almost as if he was unaffected.  Though Oskar never murders others, Eli recognizes his want to do so and this, in a sense, is what ties them together.  Though Eli is considered a monster by fantastical standards, Oskar shows characteristics of a real monster as is defined by real world standards. 

Because Eli is supposed to by a physical representation of our deepest fears, we see Eli embracing that which most fear or look down upon.  For one, Eli is poor, young, and uneducated.  In her attack of people, she lures them through her perceived vulnerabilities, whom people are often susceptible.  This can be considered related to what Auerbach says about each generation getting the vampire they deserve, though specifically why isn’t so clear cut, in my opinion.  Overall, this film is interestingly complex whose title seems to remain like a suggestion: Let the Right One In.