I want you to think about the mise-en-scene in Let the Right One In. Examine all aspects of mise-en-scene: lighting, composition, set, properties, etc. This would include color as well. Discuss the concept of "monster" through the mise-en-scene of the film. This exercise will help prepare you for your Independent Study. Examine CLOSELY and offer me many details and examples. Think about what the director is trying to say IMPLICITLY. Please do this in at least 2 well-developed paragraphs.
Use whatever scenes you can find on YouTube or come into the Library and use my copy.
Due: Friday, 10/4.
In the film “Let the Right One In”, the concept of the “monster” is very un-similar to any belief that a monster is solely a being that lives and thrives on destruction of people or places. Eli, one of the main protagonists of the film, is a little 12 year old girl, and also a vampire. However throughout the course of the movie, you never once could think of her as a ruthless, blood thirsty “monster.” This comes from the characterization of Eli through the use of the mise-en-scene, describing her as someone that kills people, but still can be just as innocent as the 12 year old that she is. A good scene of the film that shows this through the mise-en-scene is one if the final scenes of the film, where one of the local townspeople tries to kill Eli in the bathtub of her house. The mise-en-scene of this scene gives contrasts between something evil and between the innocence of a 12 year old girl, making a monster seem not so much like a “monster.” If you look at the lighting during this scene it can tell us a lot about the kind of scenario going on. As the man enters the bathroom he notices that there is no light in there because the window is covered up, and the light switch in the bathroom is not functioning. This makes us notice that there is no natural light entering that little room at all, making us believe that whatever is in that bathroom is not natural. The low-key lighting creates a sense that something dark or evil is stored in that bathroom. Earlier in the scene we read a note that says that Eli is in there and that Oskar shouldn’t disturb her. So this evil feeling is cast upon Eli, assuming that we didn’t all ready know she was a vampire, we would be confused to find that after the man removes the covers on the tub, to find an innocent looking 12 year old girl. She looks innocent, because even though it is dark, the man’s shadow blocks the light entering the room from the door, making a high-key lighting cast on her face, conveying that their shouldn’t be anything wrong with her at all, that she is a normal little girl. However after the man lets some natural light enter the room, she wakes up and as low-key lighting on her face, suggesting that now the evil tendencies in her are now coming out. So the lighting shows these contrasts alone in Eli as both a monster and someone normal, but the other parts of the mise-en-scene have a lot to contribute as well.
ReplyDeleteMake-up and costume is an important part of the mise-en-scene that creates controversy in the fact of whether or not Eli is a “monster” or not. Eli’s clothing is extremely simple and does not call attention to itself, so the viewer can expect that there is nothing particularly different about her exactly, she seems just as pale and colorless as everyone else based on their clothing. However when we look at her make-up design, we can see both the evil vampire in her, and the 12 year old girl side of her. Most of the time her make-up is normal and we can see just fine that she is a normal little girl, like when we see her sleeping in the bathtub. However at other times, like when she is feeding, her make-up is done so that she seems older and more like a monster than a kid. Also if you look at her eyes in a lot of scenes, her eyes seem to change colors, going from bright shades of green to darker shades of brownish-green. These can represent the different sides of her inside being shown in her eyes. One very important aspect of the make-up design is the part of this scene where Eli kisses Oskar when she has the blood of the guy that she killed on her face. This can be attributed to the part of the film where Oskar wants to mix blood and Eli freaks out over the blood before. However now she isn’t bothered by the blood on her face, because she has all ready removed the evil drive to kill from her body recently.
This blood on her face also shows how her evil tendencies leave an effect on her when she turns back to “normal.” She has the dark stains of her victim’s dried blood on her face, and is a reminder that she actually is a monster, not having her wipe of the blood to try and hide it, she knows that that side of her has already emerged. So she doesn’t even bother wiping away what she knows Oskar has seen, and kisses him with her victim’s blood still on her face, making us aware that even though she seems like just a kid doing something harmless as kissing, she is capable of killing.
ReplyDeleteProps and setting can be grouped together in a way in this scene because both again show both the evil and good sides of Eli. Eli couldn’t really be described as a monster because the viewer can tell that more over she is only a 12 year old girl, that just happens to have to eat people to survive every once and a while. Her confronted internal nature is also shown in the way that her apartment is set up and through some of the props. Looking at the knife the guy uses to try and kill Eli, we notice that the guy is shocked when he finds an innocent little girl inside this bathtub where the “monster” should be. Now he knows she is the monster, but how can this little girl be so evil? This is why he can’t bring himself to use the knife that he brought on her, and instead lets light into the room to try and kill her that way, because of she wasn’t the monster than the light wouldn’t hurt her. Also the fact that she is sleeping in a bathroom, in the bathtub, lets us know that the man knows something isn’t quite right about her. What normal little girl has her nap covered in blankets in a tub of the bathroom? These aspects add more to the imbalance of Eli on whether she is a monster or not. Her apartment is one thing that greatly shows just how Eli is feeling on the inside. When you look at the walls and lights of her apartment, everything is white. White walls, white ceilings, and white light to make everything seem as pure as possible. This is how Eli wants to feel. The pure white apartment is how Eli wants her life to be, pure like a 12 year old girl should be. However once we step into the “forbidden bathroom” the mise-en-scene shifts the room. Everything is dark with no light at all of course, but looking closely we can see the ugly colored green tiles and green and black painted walls. This “forbidden room” is, how Eli would see it, the evil inside her that she tries to hide at all times, to keep behind “closed doors.” She never wants anyone to see this part of her, especially Oskar, which is why there is the prop of the note where Eli says never to come into the bathroom. Even though Eli wants this to never see the light of day, wants no one to see this side of her, every once and a while part of this hidden evil escapes from the bathroom, as shown by the bloody hand that comes out of the bathroom and stains the wall. The interesting thing about that shot is that is really shows the personification of Eli. The show is balanced in composition, even on both sides, with the pure white walls showing how most of the time Eli is just a pure 12 year old girl and really isn’t a monster. However once and a while like I mentioned, something escapes from her “bathroom” and disrupts this balance, like the red stain of blood on the wall from the guy’s hand, that disrupts the balanced composition and makes us never see the perfect White balanced composition again, changing our perspective on Eli. However, even though all of these things show that Eli is forced to do some bad things to survive, these aspects of the mise-en-scene don’t make us see her permanently as a monster. It leaves the image in the back of our minds, but it makes us see her as a 12 year old who just has been given the wrong deal in life, having to suffer by killing and eating people even though the pure side of her doesn’t want to.
The many aspects of mise-en-scene in "Let The Right One In," directed by Tomas Alfredson in 2008, depict the concept of a "monster." Although it is interpreted differently by each viewer, one of the protagonists, Eli, can be seen as a monster. At first, she may appear to be a regular 12 year old girl, but through characterization from mise-en-scene, the audience finds out she is a blood-thirsty vampire.
ReplyDeleteOne scene in the film that proves she is a monster through mise-en-scene is the scene where Oskar is joking around and pretending not to let Eli into his home. Eli finally walks in and begins shaking. In the camera, she is positioned to the left of the screen, and the audience can see her over Oskar's shoulder. Eli's all white shirt against her pale white skin makes her appear ghost-like. The shot then jumps to the back of her, at a 180 degree angle and blood starts to seep from her back, onto her shirt. The color red has very significant meaning in the scene, as well as throughout the film. The crimson red blood against her white shirt and skin represents her loss of innocence. She is tainted. She is not pure anymore. The camera angle then switches to an extreme close up of Eli's scalp where blood is pouring out. Then jumps to her ear, and then her eye. The camera changes from an extreme close up of Eli's eye, to a close up of Oskar's eyes. Eli's eyes are bloody and terrifying, to depict her as the monster that she is, while Oskar's eyes are pale and surprised. He is innocent. Eli is not. The mise-en-scene in this scene is crucial in depicting Eli as a monster. It seems to the audience as if all of the blood she has consumed from her victims, is now pouring out of her. This may represent her feeling of guilt.
Another scene where mise-en-scene is used to depict Eli as a monster is towards the end, where all the main characters are at the pool. The older brother/antagonist is drowning Oskar in the pool, trying to kill him. He is placed in the foreground, out of focus, and the audience sees bloody body parts thrown into the water in the background. Oskar is naked to show his vulnerability. The audience knows that Eli is to blame for the killing of the children. Her pale hand reaches into the water to lift an almost unconscious Oskar out of the water, and when he looks up, the camera jumps to a close up shot of Eli's face. Her face is pale white, with two drops of blood in between her eyes. Blood that obviously belonged to the children she killed. Again, the color red symbolizes impurity and evil. Eli is portrayed to the audience as a monster, through mise-en-scene in this scene.
“Let the Right One In” is, as far as I’m concerned, a bit of a departure from other contemporary films in more ways than one. Specifically concerning the mise-en-scene, there are a lot of special characteristics to look at.
ReplyDeleteThe first thing to look at would naturally be the setting and climate of the movie. The film itself is a tale of isolation, and of finding acceptance and companionship where it otherwise doesn’t exist. The snow-laden tundra of the film is literally building such an unaccepting environment. The climate drives the Swedish citizens indoors, causing a very different social atmosphere (or lack thereof) than what is normally witnessed in films. In fact, Oskar is very often scene outside, but he doesn’t encounter other people in his excursions. That is, until he meets Eli. Eli, being an ice cold being who is already dead is right at home in the lifeless and cold expanse, and thus she fits into a world that Oskar had been previously experiencing alone. Also, the winter temperament results in much of the movie being spent in darkness. This helps add to the mood cast by a vampire, as well as some of the darker themes like murder.
The next thing would be to look at the color of movie. The tundra is also vital in this analysis. The snow and ice that run abound in the film effectively wash the movie of color, leaving very little for the viewer to relish. This is important, however, because it makes the impression of the use of red in the film that much stronger. The white wash of the landscape, while furthering the ever looming sense of isolation, also builds a sense of innocence and general cleanliness. The spotless white goes unbroken, and is beautiful in that way. That is changed as our lovely vampire comes. These white landscapes are found with splotches with red, all in striking intensity. Be it blood, a jacket, a sled, or some other object, these dynamic bursts of color all paint a horrifying picture the death and monstrosity that are necessary for Eli’s “life”. Also, our blond haired and generally light Oskar is mirrored by a raven haired, dark colored Eli, who’s sunken eyes have dark bags and aura paints dark tones on her environment.
Lighting is important too. Its interesting to note the dynamic between Oskar’s lighting and Eli’s lighting. Oskar has many scenes during the daytime, which fills the normal pattern of a human being, but Eli often finds herself prowling the dead of night, as she sleeps during the day, a time that would otherwise be deadly for her. As such, the lighting of their scenes are directly opposite the other. When the two meet, however, there seems to be a mix of lighting, such as them meeting outside at night, but their union being bathed in electric light, etc. Also, Eli’s haunts are steeped in shadow and darkness, as well as the places her helper Hakan commits his crimes. Oskar, on the other hand, spends his time in well lighted and open rooms and areas.
I think the view of monster is taken differently in this movie than it usually is. In most vampire films, the vampires in question are cold blooded killers who feast on the lives of mortals to continue their own twisted existence. This is not so with Eli. Eli seems to be a very human monster, having feelings and emotions that separate her from her bedfellows. Eli has Hakan kill people for her, as she does not want to murder. When She feasts in order to survive, she shows extreme remorse, and disgust at having to be seen in such a state. She kills a man in order to maintain the innocence of Oskar, symbolically sacrificing part of her own self. Also, the movie suggests that Eli is not truly a monster, but merely a creature who does what it must to survive. We see her kill, but we view it sympathetically. The frail girl who feasts on others has no control over her impulses, and we know that she will die if she does not do this. We even are reassured that she cannot be nourished on traditional food, after she intentionally goes through a painful bodily experience after accepting candy from Oskar, merely to spare his feelings. This movie knows no monsters, only misguided souls who are drawn by an indistinct force toward each other, to find acceptance and survival.
ReplyDeletei was sooooo tempted to just right about this movie for hours. i love it so much. i could talk about it forever lol
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ReplyDeletei didn't remove it.... but here it is again:
DeleteIn the film “Let the Right One In,” Oskar is tormented by several bullies throughout the narrative. Oskar is finally convinced by Eli to stand up for himself, and he finally does on a class ice skating field trip. The beginning of the ‘showdown’ between Oskar and Jonny/Conny is established in a long shot with Jonny/Conny in the center of the frame, his friends/accomplices behind him on the left of the frame, and Oskar on the right. They are all in the background with a bunch of children skating around in the foreground. These foreground skaters and the ‘showdown’ in the background are separated by snowbanks, showing that none of the other students notice, or plan on intervening in the affairs going on behind them.
As the scene progresses, Jonny/Conny is shown in a closeup as he looks back to his friends for support, and notices that they’re hesitantly standing behind him. As we see Jonny/Conny’s friends it’s revealed that of all the students, Jonny/Conny is the only one with a color coordinated outfit. This shows that he’s the only one in control of what he’s doing. All the other students involved in the bullying of Oskar, including Oskar himself, have a bunch of mixed outfits and jackets. None of them really match up. Andreas- the bully who survives the pool incident- for example, wears a brown jacket, yellow scarf, and a differently colored yellow hat. This jumble of colors, when juxtaposed with Jonny/Conny’s matching black, white and red outfit shows that Andreas isn’t really sure of what he’s doing and is just following Jonny/Conny’s lead- even if he’s hesitant about it. When Jonny/Conny approaches Oskar and gets hit in the ear with a metal pole, the two are in the center of the frame with a snowbank in the foreground and a bunch of trees in the far background. And when a teacher comes to find out what’s going on she approaches the situation from the left side, the side Jonny/Conny’s friends are on, it implies that the teacher will settle and be against Oskar- enforcing the fact that he’s isolated from everyone else (going back to the teacher coming in from the left, that also shows that Oskar was the farthest away from the group, meaning the bullies cut him off from everyone else- limiting those who could help him, and those who would be on his side.) This scene ends with Oskar standing over Jonny/Conny as he lets out a sigh, but we’re not sure what that sigh meant- of relief in his belief that the bullying is finally over? or of the relish of the power he just felt?
Mise-en-scene is all films is used to elicit feelings from all viewers, whether is be from the lighting, costume, make-up, set design, etc. They are all used to both add depth to the story and also to enhance an understanding of the implicit meanings of a film. In “Let The Right One In”, a film directed by Thomas Alfredson, the mise-en-scene does nothing short of this, although it is very unique from a typical horror movie. In most horror films the lighting is used to accentuate evil or filter out the good characters from the bad characters. In this film, however, there is no stressed dark shadows or tints used on Eli. She is shown only through natural lighting and colors, which can only help the fact that Eli is supposed to look innocent in the body of a 12 year old girl. This is why the viewer is able to look past Eli being a vampire and needing to kill. The 12 year old body, childish antics the two characters share (including playing with the Rubiks cube), and her vibrant costume outline her innocence, even if we know she is a blood sucking creature.
ReplyDeleteThe textbook definition of a monster is an imaginary creature that is typically ugly, large, frightening, and dangerous. Looking at how Alfredson portrays Eli in this film, she does not fit the description. Even if Eli is in fact the monster, she is a very human like monster who doesn’t have the sadistic and twisted pleasure from killing people that most vampires have in movies. In some scenes, like when she attacked the woman but got kicked off of her, she truly does look like a monster. Her face being covered in blood and her eyes becoming extremely dilated makes her look like a typical blood sucking monster, but she quickly realizes that she has done something bad and runs away. She still, somewhat, has the mentality of a 12 year old. So this raises questions about monsters and evil. Does the evil truly exist in Eli or is it forced upon her in moments of desperation? It’s an amazing concept that will forever keep directors making horror films. There can never be a real answer to that question. Also, the aspect that this film is a love story between Oskar and Eli takes away from Eli being a monster. The two are often show in very tight shots. Even when they are outside sitting on whatever that thing was the frame seemed claustrophobic, which shows the tightness and love between the them. How could someone love a “monster” like that? Oskar is able to look past that and see that Eli is just another 12 year old girl, as Alfredson was trying to get the viewer to realize.
In “Let The Right One In”, lighting, composition, and color are used to emphasize the contradictory ideas about what a “monster” is, and about what Eli is. Eli, a bloodthirsty vampire confined within the body of a seemingly 12-year old girl, is portrayed through the use of mise-en-scene as being torn between being innocent and pure, and giving in to her beast-like instincts in order to survive. The best way to denote this is by observing what is inside the frame, and how lighting, color, and the makeup of the characters are used to reflect Eli’s impurities as a young girl, and as a hungry vampire.
ReplyDeleteThroughout the film, Eli is almost never seen or presented in shots/places where there is natural lighting. Lighting plays a vital part in the film not only to highlight the darkness inside of Eli, but to show that the light itself is her natural enemy, and implicitly, how she can never be completely pure. For example, in the scene where she is sleeping in the bathroom, the bathroom is completely dark and ominous, much like the true nature of the vampire hiding deep inside of Eli. While sleeping, she looks completely innocent and devoid of anything that would make her look like a threat. There seems to be nothing special or unique about her, even when we know that she is capable of murder. But when, the demon inside of her comes out, all becomes apparent. Her expression changes, and she looks seemingly older than she actually is while she is eating. Her eyes also seem to change color, as she has become a completely different person than she wants to be. However, she struggles to be normal and to be accepted, and seeks that acceptance in the light-doused Oskar. Unlike dark-haired Eli with black eyes, Oskar is blond-haired with light blue eyes, and contradicts the darkness present inside of the young vampire. Oskar always seems to be present in well-lit places throughout the movie, unlike Eli, but when the two come together it becomes a mix, and the lighting in those scenes is very low-key.
The contrast between the colors white and red also play an important part in the film. While white symbolizes pureness and cleanliness, red symbolizes impurity and is presented more like a stain throughout the film. For example, when Eli kills the guy in the bathroom, the white wall outside the bathroom is stained with a botch of blood, symbolizing the impureness inside of Eli escaping out of her seemingly pure appearance. Also, in any given scene that takes place outside, the outside is dowsed in white, pure snow, leaving nothing to the viewer’s attention, until Eli and her accomplice’s killings stain Sweden with blood, such as when she kills the guy by the hospital or towards the beginning of the movie when her guardian slits a random guy’s throat, causing the impure, red hue of Eli’s presence in Sweden to spew all over the pure, white snow.
Vampires are stereotypically portrayed in the media as ruthless, emotionless killers and monsters. However, Eli’s character goes beyond that of a monster and strives to be more of a misguided human being, trying adeptly to survive and seeking purity inside of her other half, Oskar.
In Let the Right One In, the 2008 Swedish horror film, the meaning and themes of the movie, as well as the concept of “monster” presented in the film are developed in key ways by the mise-en-scene choices made by the filmmakers. While it’s a horror movie, it is also a coming of age story about two kids. The lighting is important in developing these ideas. The lighting is almost always set up in such a way that the subject, generally in the foreground is lit, and everything else is in sort of a haze, if not total dark. This is true in their apartments, in the gym, on the playground, and in the forest. It gives a focus to the film, and it gives it a distinct look. Also if they want the audience’s focus to shift, they can change the lighting so the new focus is brighter, and the old subject is darker. The idea of a distinct look is really the key to this movie. Getting away to an extent from mise-en scene, the way the camera focuses, the haze of the actual filming style is the first thing to establish the look. The look is at the same time hazy, and sharp and bright and cold. Then it is all about lighting, the set, the color and the costume/makeup/hair choices.
ReplyDeleteThe set is a lot of outdoors, which is always either bright and white snowy, or grim and grey snowy, depending on the lighting, and mood of the scene. The indoor sets, including the school room, the two apartments, the pool and gym, and the boy’s father’s house, are obviously all very Swedish looking, but individually characterize those who dwell in them. The boy’s apartment seems warm, but dated, and on the lower end of quality. The gym and the school, the public spaces, are uncluttered, and sterile. They have hard, clean surfaces and are often on the extreme end of bright or dark in terms of lighting. Their sterility is why the soaking of the pool in blood at the end of the film is so shocking. The pool’s lighting actual materials appear so clean and blue toned, that the blood really stands out. That is actually true for most of the film, there are cold blue tones and then the blood comes, from the vampire or from her helper, and is a shocking contrast and a reminder of the rawness of the subject matter. The idea of monster is also developed through color, primarily that of the costumes, makeup and hair. Everything about the school boys and those characters who live in the world without the burden of fear of vampires, or other things, appear to have brighter complexion, wear colored clothes, and deliberate haircuts. Oskar, who lives in fear of his best friend and his tormentors, has dulled colors, and unkempt hair. Eli is the greyest of all. This is how they develop her image as the monster; she is so different from the rest in such a vital way. Her skin is grey, her hair is mousy and straggly, her outfits don’t seem to change.
"Let the Right One In" uses aspects of mise-en-scene to allow for the viewer to be submerged in a world that is similar (and therefore realistic) but at the same time fantastical. Aspects such as setting, costume, and lighting truly exemplify the concept of "monster" that's present throughout the film. One of the scenes that portrays this very well happens towards the end of the film, right after Eli has left. Oskar is is continuing his pool exercises after his coach has left to investigate a dumpster fire outside of school. The gym, under the wing of his coach, has been previously established as a sort of sanctuary - he was taken in by the coach after he wanted to improve his strength. However, earlier in the film water was noted as very dangerous, after Oskar hit his primary tormentor, Conny, in the ear while ice skating on a field trip. At this point, his bullies have come inside, led by Conny's older brother, Jimmy. As Jimmy approaches the camera, it's revealed he's wearing a red leather jacket, and a very pronounced belt buckle, which can be perceived as him being tough. He pulls out a knife and flicks it open. Oskar is clothed in next to nothing. On top of him already being submerged in water, his lack of clothing further exemplifies his vulnerability. The lighting is very bright, proving that everything is in the open, yet no one is coming to help him. As Oskar is soon submerged underwater, the lighting allows for what's happening to remain quite visible but, due to the tint of the water, everything is surrounded by a shade of blue. As time passes, parts of Oskar's suppressors' bodies are seen floating in the blue water. In this relatively long shot, it can be determined that the blue represents Oskar's new found serenity. He is no longer held down by bullies. He no longer has anyone controlling him. He is free to make whatever decisions he wants to make without definite repercussions (perhaps fueling his decision to kill for Eli). This scene's negative portrayal of the bullies, additionally, allows for the audience to sympathize more with Eli and Oskar for killing. While the bullies kill purely for self-pleasure, Eli and Oskar are (and will be) forced to kill to help Eli survive. While that doesn't necessarily make it okay, at least the deaths are for a more noble cause as opposed to sadistic intentions.
ReplyDelete***For these reasons, as well as various mise-en-scene elements in the scene, it can be decided, overall, that the real monster in the film are the bullies. While Eli appears as a monster on the outside, her personality and intentions are not that of a dangerous villain while those of the bullies most definitely are.
DeleteIn Let The Right One In, the mise-en-scene is one of the reasons why it is well known. It’s costume, lighting, composition, set, properties and color revolves around the director’s(Tomas Alfredson) view of a vampire. The color red is the most standing out color. This color is a motif but also a symbol. Red is the color of blood and normally leads to a more darker tone of mood throughout the film. The most obvious representation of red in the movie is the obsessive use of blood in the violence of Ell’s vampire attacks. Blood is on her face, sometimes splattered, on the victim and, if outside, on the contrasting, white snow, displaying a multitude of red already. Other characteristics of Alfredson’s vampire include, not being able to survive in daylight, a vampires crazed mood when near the smell of blood, and the age of the vampire never changing, which has brought up many questions of the plot in this film between the relationship of the older man and eli, and then what the relationship will be between Oskar and Eli turned into in the future. Yes Alfredson’s view of a vampire is a formal view of a “monster”, but he also reveals another meaning to the word. He implicitly presents the monster side of the human race as well.
ReplyDeleteIn the costume design of Let the Right One In, the use of red represents little meanings that gain importance to the film as a whole. Many times it represents the amount of evil or dark in their characters. For example, the bully, Conny, usually wears a jacket with a thick line of red. Normally this doesn’t present much evil, but if you look at the rest of his jacket, it is mostly black. This could represent that his darkness is cast upon him from someone else, his older brother. The first and last time we see him his shirt is all dark red, meaning he will go to any extent to get revenge, or have any reason to hurt. Alfredson relates to this through a “monster” format by the measure of evil in someone’s heart. In set design, colors also represent much. In the house of Eli and her older friend, there is practically no red, only light blues and yellows, (even the majority of Eli’s wardrobe is blue) along with little tidbits of personality throughout the house( decorations, pictures, etc), which makes the viewer feel at home, even when they know a vicious vampire in the house. This describes the implicit innocence of the two people, even if, explicitly they kill people.
With Alfredson’s view of a monster, he displays a gruesome amount of make-up effects. Specifically on Eli,usually referring to when she goes to kill. When this does happen, at one point there is a close up of her face. Up until then the viewer only sees her actions as abnormal. But when the close-up arrives, the look of her face highlights the veins running through her, making her look older. which would create an answer for how old she truly is, through make-up. Of course her make up involves colors also, red blood more specifically. The one unusual characteristic that Alfredson brings to the stage is the fact that vampires need to get invited into a home before entering (Thus the name of the title, Let The Right One In) . When a vampire is not invited, and does enter, blood protrudes from the nose mouth, and eyes, represented through make up.
On the outside, Alfredson’s view of a monster is not much different from that of ourselves. However when one looks closer, into the implicit meaning of the film, you find the hidden beliefs Alfredson has of a “monster”.
I feel the idea of the word “monster” has been very much warped into something it’s not. The general idea of a monster is something scary, something that no matter what will scare you, freak you out and furthermore not be a creature you would ever want to come in contact with. This I feel is an over exaggeration of what a monster really is and the movie Let the Right One In really does challenge the mainstream perception of the word “monster.” The scene in which Oskar did not let her into his house and told her she had to come in without consent anyways because he didn’t know what it would do to her. However, for most of the movie, other than her very pale and almost ghost like skin, you forget she is a vampire at all and just think of her as an outsider who is starting to get feelings for a boy who is also an outsider, a story in which almost everyone can relate too.
ReplyDeleteThe scene where she walks into his house uninvited, it starts with her wearing a white dress which is similar in color to her very pale skin, and this is done to make a very sharp contrast to what happens to her after she walks into the room. Also, it seems the only color in the movie at all is when Eli kills another person or in this scene when she bleeds herself, making red stand out in every situation blood is used in the scene. The blood is there to show a contrast between the white skin of Eli as well as a contrast between the dull and dreary town by making everything almost colorless, another reason why it is taken place in the dead of winter, so the red blood could contrast against the snow as well. Getting back to the scene itself, Eli is on the left side of the screen when she walks into Oskar’s house, and it cuts to a close up of Eli’s face. She starts to shake and Non Diegetic as well as very prominent diegetic sound starts to push through. Diegetic sound was an over exaggerated sound of Eli breathing as if we were right next to her, making the audience feel they were there with her and Oskar, as well as adding to the tension of the scene itself. Also, the non diegetic sound of creepy tension building sounds starts to play when she walks in and starts shaking, also building suspense in combination with the Diegetic sound. Then, a bunch of extreme close ups of Eli’s head, ear, eyes and back show blood coming out. These shots are very quick to make the audience feel uncomfortable and to scare the audience as this is a horror film. Up until this scene, for the most part you see her as a normal girl who has a crush on Oskar, but this scene shows she is a monster. However, the fact that it only shows the viewer that she is a monster in short bursts, i think the director was trying to purposely convey the idea that not all monsters have to be completely scary and the director did this just to challenge the mainstream definition of “monster.”
In "Let the Right One in", Tomas Alfredson uses mise-en-scene in order to evoke emotions from the viewers as it develops the story. It is used to create a unique contrast between the stark isolationism and unity shown in different ways, both through mise-en-scene. This contrast helps to show the anguish and pain that the monster evokes later on. When the characters are at either end of the spectrum (unified/isolated), it gives the feeling of helplessness when the monster attacks, however that may be.
ReplyDeleteFirst and foremost, this story takes place in winter, arguably the most isolated season. The cold and bleariness of winter leads most people to stay isolated away indoors, mostly alone. In shots when Oskar was alone outside, the contrast of the pure white of the snow and the pure black of the sky made him seem so very alone. But in scenes when he was with Eli, the world seemed warmer, framing their shot together among other object that made the whole scene seem very much less frightening.
Another way Alfredson presents the bleak contrast between light and dark, good and bad, Oskar and Eli is through color in the scenes containing people. It is easy to notice that in the scenes where Eli is not present, the background and mise-en-scene seem much brighter, using shades of light grays, light blue and whites. In scenes where she is present, more darker blues, greens and greys are used to give a sense of uneasiness to the viewers. This also leaves a foreboding for what is to come.