celedril wrote:Man, people just be hatin' on ol LMI, but I don't see why. I have to agree with David Zahir.
Not only that, but I think that the movie's title says it all. To me there are a few pivot points this movie revolves around that change it drastically. The first is simply the title. Let Me In. Says it all right there. It isn't about letting the right one in (both into your life and your heart), it's about letting her in, one way or another. The general tone of the movie is a little more sinister than LTROI, and I think this matches with the notion that Abby is supposed to be, as Dave Zahir said (though in the negative), a manipulative little bitch. Now that doesn't mean she doesn't have feelings for Owen (I also agree with DZ, that she does have tender moments with Owen and Thomas that strongly argue for her having emotional investment in both of them), just that I think the director made a conscious choice to emphasize the manipulative, parasitical parts of Abby and her existence as a vampire. That was the whole point of the title, I think: that's how she survives, she convinces you to let her in--remember, when Owen saves her from the blood effusion when she comes in without invitation, she says "I knew you wouldn't let me [die]," in a great, deadpan voice (one can argue it wasn't deadpan, but please, watch it again and see if it doesn't strike you as a resigned and just a little impassive). Again, these don't mean there isn't any complexity to her emotions or the relationships, only that a large aspect of her existence is as a parasite who uses her charms to convince others to let her in.
That's the whole point of making Thomas/caretaker who he is in the movie. We are absolutely supposed to believe that Owen has great potential to become just like him. What else is "have some now, save some for later" supposed to intimate?
The second point is the pool scene. As many have noticed, the beautiful scene of Eli and Oskar gazing at each other has been replaced by Owen staring at Abby's feet. Do people really think this wasn't a conscious choice by Matt Reeves? Abby saves Owen in his darkest hour, and when we see her feet we know he is going to be at them, with her as master (again, don't get me wrong, I think she does have feelings for Owen, but they aren't the main point in this movie). Then we see the train scene and him singing Now and Later. Reeves isn't stupid, and nothing is in that movie that isn't supposed to be. Reeves is a good director, cunning and methodical. He knows this movie is supposed to be a horror, and it is. The horror of how a vampire girl survives, and the sad destiny of those she attracts, and who fall in love with her. Owen is singing his own fate, and he doesn't even know it. If that ain't horrifying, I don't know what is.
I think this is a very subtle story that has lots of emotional content between Owen and Abby, but just because it isn't the same sort of "love" as between Oskar and Eli doesn't mean people have to impugn it. It is a sort of love, but Reeves made conscious decisions to highlight certain aspects of the story, and those enhancements change the dynamic so drastically that LMI and LTROI are consequently almost entirely different films. I love them both, but it makes me sad when people get all doom and gloom on LMI, because it has some wonderful merits, and deserves to be judged on those merits.
I'd just like people to try and divorce the two, because it is to compare apples and oranges. That's why I think JAL was able to like both, because he (rightly) recognized the vast gulf between the two, and could appreciate both as distinct entities that retained a certain core of what he was trying to do in the novel.
Obviously there's more, but I'll leave off my defense for now