Development Filmjuice

Let loose the right one in

I think in almost all vampire stories appears the problem of the distribution of gifts. It is natural, since the vampire is the need to remove (blood, obviously), but also the possibility of (eternal life, powers). Hence also all those games with the other donor symbolic of immortality, Christ, that Coppola used both in his film, but in Let the Right One In not seem to have no function, even through the cross.

gifts multiply. The story begins with a gift truncated (human blood) to be exchanged for something we can not know exactly, is only suggested. And the real story, the relationship between Oskar and Eli, the exchange begins with Rubik cube and instructions, continue with the offer of a code (morse), then with the blood covenant (also truncated), and thus continue to the grand final exchange. In between, the adult world has a similar logic of ordered goods in circulation.

Perhaps most Curious, compared to other symbolic systems of exchange, is that the stories come into play. In none of the enigmatic characters (or not so cryptic) know nothing but what they show. We do not know the origin of Eli, or the accompanying adult or the adult partner dies, even we know that is the role of Oskar's father's friend who breaks into your happiness and that seems to have a story behind too.

The key moment of this narrative no trading system is in the house of Eli, when she shows her mysterious treasures separable. Even when she offers money and told him not stolen, it is also a gift many people. This small table covered with mysteries in a department without any decoration seems just a symbolic rather than an economic treasure, we could imagine a context where it serves as motivation for long narratives interspersed.

Basically two things: please ask (and its counterpart, generously offered), as in the sequence of death of older women (can you please open the blinds?) Or the delivery of adult blood Eli accompanying, among other similar scenes, and defend against a violent attack (no need to give examples.) The brightest of the film is that in the middle of these two actions apparently contradictory pardigma not installed a moral. There are those who kill because they need it, like Eli, who killed following an exchange, as the adult who is with Eli, they kill because they like it, like Oskar, and those who kill because they are evil, as the dark companions Oskar. If terror typically embodies absolute evil and makes the earth move, I must say that Let the Right One In is only co-Oskar where you can capture some of that evil without object, that is plus evil.

Addenda after talking with my office mate : the fundamental exchange of gifts is not. Rather it is the one between the adult accompanying Eli and Oskar at first, destined to take its place (it is not uncommon that the two homologous characters never appear together.) In that sense there is no exchange of stories because the story is one, the server (the Renfield ) Eli in their cycles of ascending and descending.

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