We, The Infected

jkwilliams wrote:I never paid much attention to it before but the scene where Martin cuts Oskar's face is actually a very well done effect. If you look closely enough you can see blood welling up in the cut and Oskar's cheek slowly turning red just like it would in real life. It's very subtle but very realistic.

Also, in the kitchen scene with Eli and Håkan, what exactly is printed on the front of Eli's t-shirt? It looks like some kind of obelisk or rocket.

Looks like a rocket to me.

Marlow wrote:Immediately after Oskar is struck you can hear, if you listen closely, a high pitched tone, like a ringing in your ears or Oskar's in this case. A audio reflection of a move into a disassociative state if you are so inclined or just a narrowing of focus after a trauma if not. This is nearly sub-liminal without a careful watching. I didn't remember hearing it until I had repeatedly seen LTROI.

It was in the scene where Oskar gets whipped by the bullies that I first noticed how many interesting things were going on in the audio. As Martin takes the switch the from a sobbing Andreas, you can hear Martins feet in the snow. You can hear Martin breathing. You can hear Andreas sobbing. Oskar is standing there with his eyes closed, and these are the things he hears. Then you can hear the switch whistling through the air and as it hits, all of the sounds stop. They are replaced by a high pitched tone, like tinnitus. Tomas and Per have made our ears ring with the blow, just as Oskar’s ears must have been ringing.

http://let-the-right-one-in.com/woofy/1 ... ht-one-in/

I hadn't seen that little wiggle, but now that I do, it is completely endearing. I wish that it was possible to get a higher quality print of this film. My Magnet/Magnolia is pretty fuzzy. This scene is a distance shot, and I can barely make out her facial expressions.

In the scene of the underpass I've noticed a black blur pass in front of the camera.It must be Eli getting into position to attack Jocke which is the next scene.May I say that I've lost count of the times I've watched this remarkable film and it gets better each time.There is so much to it.The fantastic cinematography.The beautiful music,acting,direction.Even the tiny glitches make it better.Of course under all of them is a beautiful love story.There,phew,venting done for the day.lol.Have a good day or night and dream of our little Romeo and Juliet.

Indeed! The shadow of Eli's head as she moves into position. I encourage you and all lovers of this wonderful film to watch it once with the sound off. You won't believe how much more you'll see that way.

Then at some point -- if you can -- listen to it with the viewer closed. OMG! I can do it because I can stream it from Amazon onto my PC.

Just after having attacked Virginia, and been kicked off her, Eli spends a moment or two with a "what the...?" kind of expression on her face, as if she had been awakened abruptly from a deep slumber and couldn't remember right away where she was or what she was doing there. She looks over her back to her left, turns her head, and looks over her back to the right, turns her face forward again, and then bolts. At some point during this time, I believe I can see her eyes having cat's pupils (but without the glow of a tapetum lucidum). Could anybody with a very high resolution copy and screen confirm this?

It just keeps getting better with each re-viewing.I've taken peoples suggestions on board and have watched it with and without sound.Sub titles and not.The things you hear without the pictures are amazing.After reading Wolfchild's excellent piece on hands,all I did for the next couple of viewings was stare at the hands..lol.. It's a great piece.Very interesting way of looking at the movie.This time I concentrated on the characters eyes and facial expressions.The upturned eyebrow or double take.The look of pain and remorse.The quiver of a little lip.The shy little smile.They're all beautiful little things that add so much depth to the story.After Oskar hit Eli (in the deleted scenes) her face just breaks my heart as her lip quivers slightly and she gulps trying not to cry.It's just such a beautiful scene,pity they didn't include it.The pain on Virginia's face and Lache's look of hopelessness as she leaves him just before Eli attacks her.I could go on and on.Everytime I watch it I discover something new and interesting.My long suffering wife can identify it from just the intro to the production houses that made it.She calls me crazy and watches something else.She tells me she used to like the movie but my compulsive behaviour has made her not like it.. She knew the job was dangerous when she married me.. All the best..I Eli..

:sigh: The film, alas, is not for everyone.

But for those of us whom it is for -- yay us!

You see, my good friend, the film is all of a piece -- the music, the cinematography, the cast (all of them). Kåre and Lina. Each actor, however brief his or her part, turning in a jewel of performance art.

The script and TA's realization of it. The story, which turns the vampire myth on its head. The realism of a 12-year-old vampire on his/her own and the intersection of his/her life with the life of a sensitive, bullied, 12-year-old school boy.

Yes, as you illustrated with your words, the density of the experience allows viewing it again and again without ever running out of new things to see and to feel.

To merely like the film comes too close to seeing it as just another way to be entertained. It is transcendental art, not an excuse to eat popcorn.

The effect on those of us who are touched deeply by the film shows in the discussions, in the writing of fan fiction, and in the amount of art produced.

Interesting to watch Oskar's hand at 26:01 - 26:10 as he listens to a conversation/argument between Eli and Hakan on the other side of the wall. That's not the wall he's stroking...

I noticed something the other night when I was watching the film Tinker Tailor Soldier Spy. As the ending credits are scrolling up, they slowly drift back and forth across the screen. It reminded me of the credits in LTROI, except those change colors back and forth from black to red. I guess it's up to the viewer to interpret what it's all supposed to mean.

Is this something TA does in his other films or was it just these two?