Personal Response to “Let the Right One In”
“Let the Right One In” is a romantic horror film from the Swedish environments of 2008. It is based on a novel written in 2004 in the same title, exploring the life of a boy of twelve years. The boy develops a vampire friendship with a child from Stockholm in the 1980s. Tomas Alfredson tunes down various elements of the film into focusing on the two main characters in the exploration of the dark part of humanity.
In the film, musical elements of filmmaking are dominant. Generally, artistic aspects of dynamics, rhythm or tempo, and fluidity are employed by filmmakers to embrace the sense of harmony and motion to the images. Although the film features analog sound-effects, the lead sound-designer reworks the effects to digital or untraditional forms while maintaining the original or natural state. Some of the songs evidenced in the movie are the “Kvar I min bil” by Per Gessle, Forsonade of 1968, and “Flash in the Night” of 1981. Throughout the film, the sound effects are exposed as audible heartbeats, swallowing, and breathing. For instance, Lina Leandersson’s voice is overdubbed with a less feminine voice to underline the backstory. Although Lina is used as a twelve years old actor, she is two hundred years old. Besides, Eli’s spoken dialogue and the animal notices provide an emanating sequence where men and women of up to forty years are used for the roles. Notably, the sound and musical elements are used to add a sense of harmony by adding awe to the audiences.
Filmmaking in contemporary ideas illustrates the effectiveness of film editing to balance mood, tone, and texture. The film, “Let the Right One In,” employs cinematography in the aspects shooting through things, underexpose, haze, colored gels, and unique angles. For instance, editing at the beginning is shown by the domination of sharp jump cuts in a montage style, suggests a sense of efficiencybm b nd speed. Secondly, an indication of supernatural presence is portrayed by Eli’s view from snapshot moments of camera pans in a frame where nothing was seen previously. The appearances, together with door opening, which are strange and abrupt, seemed too welcomed by Oskar. Oskar did not react despite the experiences, indicating the supernatural happenings would be expected. Throughout the movie, experiences from actors show underwater, carnage, blood spatters, and human slaughter, all of which are accompanied by disconcerting reactions and unawareness.
Alfredson’s film is a brilliant illustration of the devastating experiences of the traditional and supernatural issues among young children. To produce the film, the director employs quality elements of musical genre and editing, a fact that enables a more magnificent reception of the film. However, the entire movie can be criticized for its violent and bloody subject matter. The video talks about the dangerous life of the vampire, an ideal that can influence youngsters into the supernatural world without apparent reasons. Nevertheless, the author portrays credible art that is supported by cinematography. There are potent expressions of great editing styles associated with jumps and breaks that leave the audience eager to see the not-obvious unfolding throughout the movie. Besides, sound effects from the traditional moods and translated into modern art. Therefore, filmmakers and artists can borrow ideas from the film or make some improvements.