Little Scenes in LTROI That Make Me Laugh

[N.R. Gasan]

The scene where Oskar loans Eli the Rubik's Cube: When he asks her if she's cold and she tells him no, that she's forgotten how, the look on his face is like, "O-Kaaay...This girl is definitely OFF." Then he wastes no time in departing. I always get a kick out of that. :)

I also like the scene where Oskar rushes Eli to the window when his mom gets home unexpectedly. What I find amusing is: Here's Eli, a self-sufficient and super-strong vampire, letting herself be hauled around by this skinny, whimpy human boy. It's such a study in contrasts.

[Aurora]

Matte's friend: You can jerk off when you get home

Oskar: What do you mean more or less?

Oskar: How did you get here?
Eli: I flew.
Oskar: Yeah, sure.

[drakkar]

I can't recall any place in the film where I really laughed. JAL's books are loaded with funny/quirky comments and situations, and here I laugh.
But in the film, graveness is too close.
Maybe the closest is the hilarious bombastic parting of Lacke and Jocke, just before Eli get him. And Oskar's reaction to Eli when the don't tell him her exact age.

The scene where Oskar loans Eli the Rubik's Cube: When he asks her if she's cold and she tells him no, that she's forgotten how, the look on his face is like, "O-Kaaay...This girl is definitely OFF." Then he wastes no time in departing. I always get a kick out of that.

I also like the scene where Oskar rushes Eli to the window when his mom gets home unexpectedly. What I find amusing is: Here's Eli, a self-sufficient and super-strong vampire, letting herself be hauled around by this skinny, whimpy human boy. It's such a study in contrasts.

I also love these scenes, but I find them more puzzling than funny

[sauvin]

The scene where Oskar loans Eli the Rubik's Cube: When he asks her if she's cold and she tells him no, that she's forgotten how, the look on his face is like, "O-Kaaay...This girl is definitely OFF." Then he wastes no time in departing. I always get a kick out of that.

I also like the scene where Oskar rushes Eli to the window when his mom gets home unexpectedly. What I find amusing is: Here's Eli, a self-sufficient and super-strong vampire, letting herself be hauled around by this skinny, whimpy human boy. It's such a study in contrasts.

I also love these scenes, but I find them more puzzling than funny

Here, too, is one of the few scenes in the movie where we see a very human Eli, cast in true apparent size, dwarfed by Oskar's mother's summer dress.

It's the first time in the movie for me where it's driven home the girl IS a little girl. In most of the rest of the movie, she's noticeably smaller than other people, yes, and her physical size is evident when she passes through doors, but a goodly chunk of her screen time is with Oskar, with nobody else around. It's easy for idiots like myself to forget we're looking at a couple of children and not just people who happen to be a bit on the smallish size and with voices pitched a bit higher than other folks'. When their two heads dominate the screen, they're not children, for me, they're just people.

Eli being pushed and pulled like a slightly oversized Cabbage Patch Doll in this scene is what drove home for me the horror of what she is - her small size and very cute appearance masks what may well be the most dangerous and powerful creature in existence (in the movie, folks, remember, she's just a character in a movie....) The little girl who drains and twists the necks of fully grown men looks for all the world here like a young daughter fresh out of the shower and getting ready for a glass of milk, a slice of chocolate cake and maybe a half hour of something lighthearted, noisy and brightly coloured on the telly before turning in on a school night.

For all the menace she represents, the murdering beast has a good-natured smile as she's being lugged around. This doesn't look like the condescending amusement of a supreme being tolerating being manhandled by a lesser servant; she almost looks like she's about to start pitching a giggle fit, as if few things could be funnier than the possibility of being caught by her boyfriend's mother in his apartment's hallway wearing literally nothing but a sundress and a twinkle in her eye. How WOULD they explain "Um, this isn't what it looks like... " ? This is a child at play, and again, just like in the basement clubhouse scene before the blood hit the floor, we see a relaxed and very comfortable Eli.

Could it be that Eli can afford this because she's survived the ordeal of Oskar's possible judgement? It's plain she has; the beginning of that survival was evident when Oskar shouted at her "Yes, you can come IN! (please please please don't die...)" and concluded with Oskar's obvious acceptance as he turned the stereo on and danced around the living room, himself also happy and comfortable, waiting for her to finish showering. I think it's his ease that made her feel so easy.

Here, too, I think we see Eli at her most vulnerable. Unlike the scene where she's dreading what Oskar is going to say (or ask) when he returns from visting his father, emotional vulnerability partly shielded by a windowed door, her guard here is almost completely absent. She knows she's not paying attention to every little detail around her, and doesn't give a d%#n. She doesn't have to.

A study in contrasts? You betcha, and visually a d%#n powerful one! I don't remember having laughed here, but even as many times as I've seen it, this scene always makes me smile. That little twirl she does as she "models" the summer dress subtexts the message "See how you make me feel?" and is about as polar opposite to the abyssally lost and ineffably lonely sobbing she did astraddle Jocke's cooling corpse as it's possible to get.

[drakkar]

Eli being pushed and pulled like a slightly oversized Cabbage Patch Doll in this scene is what drove home for me the horror of what she is - her small size and very cute appearance masks what may well be the most dangerous and powerful creature in existence (in the movie, folks, remember, she's just a character in a movie....) The little girl who drains and twists the necks of fully grown men looks for all the world here like a young daughter fresh out of the shower and getting ready for a glass of milk, a slice of chocolate cake and maybe a half hour of something lighthearted, noisy and brightly coloured on the telly before turning in on a school night.

For all the menace she represents, the murdering beast has a good-natured smile as she's being lugged around. This doesn't look like the condescending amusement of a supreme being tolerating being manhandled by a lesser servant; she almost looks like she's about to start pitching a giggle fit, as if few things could be funnier than the possibility of being caught by her boyfriend's mother in his apartment's hallway wearing literally nothing but a sundress and a twinkle in her eye. How WOULD they explain "Um, this isn't what it looks like... " ? This is a child at play, and again, just like in the basement clubhouse scene before the blood hit the floor, we see a relaxed and very comfortable Eli.

Could it be that Eli can afford this because she's survived the ordeal of Oskar's possible judgement? It's plain she has; the beginning of that survival was evident when Oskar shouted at her "Yes, you can come IN! (please please please don't die...)" and concluded with Oskar's obvious acceptance as he turned the stereo on and danced around the living room, himself also happy and comfortable, waiting for her to finish showering. I think it's his ease that made her feel so easy.

Here, too, I think we see Eli at her most vulnerable. Unlike the scene where she's dreading what Oskar is going to say (or ask) when he returns from visting his father, emotional vulnerability partly shielded by a windowed door, her guard here is almost completely absent. She knows she's not paying attention to every little detail around her, and doesn't give a damn. She doesn't have to.

A study in contrasts? You betcha, and visually a damn powerful one! I don't remember having laughed here, but even as many times as I've seen it, this scene always makes me smile. That little twirl she does as she "models" the summer dress subtexts the message "See how you make me feel?" and is about as polar opposite to the abyssally lost and ineffably lonely sobbing she did astraddle Jocke's cooling corpse as it's possible to get.

QFT.
And again I get this feeling about how much their relationship really develops from one scene to the next - it simply has to.

It's the first time in the movie for me where it's driven home the girl IS a little girl. In most of the rest of the movie, she's noticeably smaller than other people, yes, and her physical size is evident when she passes through doors, but a goodly chunk of her screen time is with Oskar, with nobody else around. It's easy for idiots like myself to forget we're looking at a couple of children and not just people who happen to be a bit on the smallish size and with voices pitched a bit higher than other folks'. When their two heads dominate the screen, they're not children, for me, they're just people.

I've got lost in all the articles, bot in one recent one it's stated that the entire or just about entire film is shot from Oskar's eye height, whith the camera 1.40 m above the ground. So we look straight at the kids; they don't look small unless there is something to compare their size with.

[jonesboy27aka]

That little twirl she does as she "models" the summer dress subtexts the message "See how you make me feel?"

Very well said!

[Wolfchild]

One that made me chuckle I kind of hesitate to admit to. When they have cut Jocke's corpse from the ice, there is a shot where the crane is hauling the block ice of ice, and we it swaying back and forth with, with Jocke's face on top of the ice turned toward literally frozen in a ghastly death grimace, while below the ice his stick down straight and rigid. Such an undignified pose for Jocke's remains exemplified for me how death is the ultimate indignity.



The first time I watched this film, I admit that I chuckled to myself at this image because it spawned this fleeting and uncomfortable thought.

[gattoparde59]

On rewatching the film, I now chuckle at the part where Eli knocks on Oskar's window and wakes him up. That someone could dream up a scene like that I find very amusing.

[a_contemplative_life]

That little twirl she does as she "models" the summer dress subtexts the message "See how you make me feel?"

Very well said!

Eli is happy. Maybe a new experience for her.

[jonesboy27aka]

I’m not sure why but one late night watching LTROI, I cracked up laughing hysterically at the part when Hakan's second victim started screaming Help! Help Me! The first few calls for help I giggled a little bit, but then he gets louder and louder and I laughed harder and harder. Once he started screaming HELP ME!! HELP ME!! I was laughing so hard I started to cry and my stomach was hurting.

I don't mean to sound sadistic it’s just that his voice sounds so funny to me. Since that night, I always giggle to myself at that part.

I also giggle when Hakan hits his head before landing after Eli noms him. BAM!