[archieve] Welcome to the new horror classic, LET THE RIGHT ONE IN!

A well-crafted horror film in the tradition of Guillermo del Toro's THE DEVIL'S BACKBONE, Swedish import LET THE RIGHT ONE IN ably blends genre chills with genuine feeling. Oskar (Kåre Hedebrant) is a 12-year-old outcast who is frequently picked on by his classmates. He dreams of getting his revenge, but he never stands up to the boys. With the arrival of his new next-door neighbor, 12-year-old Eli (Lina Leandersson), Oskar may finally have found a friend, ally, and first love. But Eli is no ordinary girl: she must keep her pale skin out of the sunlight, she can perform inhuman physical feats, and she has thirst for blood. The bodies begin to pile up, but Oskar can't stay away from the girl who has finally given him courage. 

Based on the novel by John Ajvide Linqvist (who also wrote the script), LET THE RIGHT ONE IN is the best kind of horror film: one that transcends the tropes of the genre to become something new. This is director Tomas Alfredson's first foray into horror, and he doesn't hesitate to include bits of vampire mythology. But his background making comedies and dramas gives the film a surprising depth; the relationship between Oskar and Eli is tentative and sweet, even though their interactions may be surrounded by blood and violence. Composer Johan Soderqvist and the sound department create a fascinating palette of music and sounds that add to the film's perfectly chilly mood, and setting the film in a snowy Swedish suburb gives director of photography Hoyte Van Hoytema a starkly beautiful environment for shooting. Though LET THE RIGHT ONE IN is ostensibly about a pair of children, this is a horror film for adults. There are plenty of scares, but it remains moving and intelligent, a rare feat for the genre.

[archive] Hors De Prix: Audrey Tautou's return to an entertaining motion picture

I incidentally got this film's DVD after a quick shopping trip at ITC Permata on June 8, 2007. I must say I was blessed it caught up my sight since my last unsuccessful movie experience with Angelina Jolie’s “The Good Shepherd”; so boring I felt asleep before it’s over! After that I happened to be very picky and rather cynical to Hollywood movies therefore I unconsciously drifted aside and took a chance to seek for alternatives. But how could I resist a fine, shinning pack of DVD with Audrey Tautou in the front cover? So I made my move, grabbed the piece and asked mbak DVD seller to play the disk. It was crystal clear and completed with correspondent English subtitle. Excellent. 

Cute poster

The original title is “Hors De Prix”, or “Priceless” in American version, stars Gad Elmaleh (never saw him before in any French movies) and Audrey Tautou (of course, the reason I bought this DVD), telling a story of a timid barman (Jean) who sees a beautiful seductress (Irène), disguises himself as a rich man by accident and spends a good night with her in the Imperial Suite ('I only got the Royal Suite', she says), and this results in both of them losing their respective jobs (as it were), and thus begins the misadventures of Jean et Irène (which is NOT pronounced 'Irene', by the way). 

The movie was absolutely funny, I could laugh out loud if I wasn’t watch it with my big sis. She kept saying ‘astaghfirullah’ every time Irène showed up with her latest sophisticated-close-to-naked gowns. But we both laughed gayly and enjoyed the scene when she runs like hell with her oh-so-skinny figure. However, it’s a new kind of comedy, out of Hollywood’s rude slapsticks nor foolishness of “American Pie” ones. This one is easier to chew.

I admire Audrey’s ability to switch her facial expressions from one mood to another as required in the story. When she gets happy and turns jealous, she visually does a great job to mark the leap. Out of her old role as the quirky Amelie—even though I keep comparing Irène with Amelie—Audrey’s cuteness effectively utilized to emphasize her character as a richman preyer. Do I put it correctly? “Richman preyer”. Hm, they rather call her kind as “gold digger”. Nice way to put it. She plays Irène with such elegance and energy and made her real that even though her character could have easily strayed into bitchy territory, it never once did, and we understand and support Gad's character's obsession with her. She is also very sexy, and very much tanned—and the way her breasts are on the verge of popping out due to the dress she was wearing was very distracting. On the other hand, Gad has proved himself a successful rising young comedian in the world of French films—at least, in the international scene, he might already be famous in France.

The playful Audrey, so adorable

As usual, French movies are always presented in such a wonderful visual. They have these distinguish technics and brief consideration on colours, its perspective and harmony. Not to mention their romantic architectures and beautiful landscapes… really indulge my visual senses.

The story itselves runs smoothly and entirely natural. It seems the cast are truly in the real situation! I think the chemistry between the actors were astoundingly well-crafted. *Sigh*. If only more films like these come along. A good film, that is.

[archive] The amazing Gloomy Sunday

I may be one of these people who have queer tendency when it comes to film & music. Aside from physical look & my inner personality, I must say that I fond much of these gloomy, gothic –ish pieces. I'm always mesmerized by films that are successfully presented such a dramatic visuals and ironic storyline. Like this one, my all time favorite movie: Gloomy Sunday. As I mention to a friend a couple of hours back, this masterpiece feed my hunger of a good movie in term of visual, camera angle, cast, soundtrack, setting, and of course unexpected ending. 

To those who are completely unaware to this movie, it is your time to treasure the pleasure. Far before the movie, the song "Gloomy Sunday" was originated written by two Hungarians in 1933 (Reszõ Seress & László Jávor). A year later, the melancholy ballad was linked with an outbreak of suicides. An American version was recorded by Billie Holiday in 1941, whose soulful, subtle voice interpreted the nightmare en route to reality. In an attempt to alleviate the pessimistic tone, a third stanza was added to this version, giving the song a dreamy twist, yet still the suicide reputation remained. The song was eventually banned from the play lists of major radio broadcasters around the world. The BBC deemed it too depressing for the airwaves. Despite all such bans, Gloomy Sunday continued to be recorded and sold. People continued to buy the recordings; some committed suicide. Rezsô Seress jumped to his death from his flat in 1968. (link to: www.snopes.com/music/songs/gloomy.htm for further Urban Legends Reference Pages). 

The movie itself is based on the book entitled Das Lied vom traurigen Sonntag ("The song of sad Sunday") by Nick Barkow. It begins with the 80th birthday celebration of a rich and powerful German businessman in his favorite Budapest restaurant. After asking that the violinist play the song connected with the place (he mentions it, “the famous one”), music that mesmerized him as a young man, he suddenly dies of a heart attack. In a flashback, we are taken to the 1930s when the restaurant is run by Lazlo Szabo (Joachim Krol), a Jewish entrepreneur who has a keen appreciation for fine food, beauty, and sexual pleasure. 


He is madly in love with the alluring Ilona (Erika Marozsan), the hospitable hostess in the restaurant. When they both decide that they need a pianist, Andras (Stefano Dionisi) is hired. Having no claim on Ilona's private life, Lazlo is not surprised when she begins an affair with the handsome newcomer. Andras then composes "Gloomy Sunday" for her, and it soon becomes a favorite among the patrons of the restaurant. Lazlo helps the young man sell it to a record company, and soon it is on the radio along with a commercial for the restaurant. Ilona decides to share her love and body with both men, and for a while they all seem to be happy. But the bittersweet nature of "Gloomy Sunday" leads many Hungarians to commit suicide. 


The other central character in this moody drama is Mr. Wieck (Ben Becker), an ambitious young German who falls under Ilona's spell and rashly proposes to her. When she turns him down, he plunges into the Danube and is saved by Lazlo. Some years later, Wieck returns to his favorite restaurant as a leading Nazi officer. For large sums or money or jewelry, he arranges safe passage for Hungarian Jews to Switzerland. Although he is beholden to Lazlo for once saving his life, he has a few surprises in store for him. But it is Ilona who surprises Wieck when he least expects it. Gloomy Sunday is a well-acted drama about the trinity of love, death, and the grace moments that make life worth the wear of living. 

Movie poster

For me, the whole cinematographic aspects are combined in a delicious way to form a classic one. Even though the groundbreaking song is way far more grandiose than the motion picture, somehow they complete to each other; the movie cleanses any horror mind emerging from the song. Who wouldn’t imagine horrific interpretation when one listens to this eerie lyric:

[This is the translation of the original Hungarian]
Lyric by LÁSZLÓ JÁVOR:

On a sad Sunday with a hundred white flowers,
I was waiting for you my dearest with a prayer.
A Sunday morning, chasing after my dreams,
The carriage of my sorrow returned to me without you.
It is since then that my Sundays have been forever sad ...

Sad Sunday

This last Sunday, my darling please come to me
There'll be a priest, a coffin, a catafalque and a winding-sheet.
There'll be flowers for you, flowers and a coffin,
Under the blossoming trees it will be my last journey.
My eyes will be open, so that I could see you for a last time,
Don't be afraid of my eyes, I'll be blessing you in your death ...

The last Sunday.


Lyric by REZSÕ SERESS:

It is autumn and the leaves are falling,
All love has died on earth.
The wind is weeping with sorrowful tears,
My heart will never hope for a new spring again.
My tears and my sorrows are all in vain,
People are heartless, greedy and wicked ...

Love has died!

The world has come to its end, hope has ceased to have a meaning
Cities are being wiped out,
Meadows are colored red with human blood,
There are dead people on the streets everywhere.
I will say another quiet prayer:
People are sinners, Lord, they make mistakes...

The world has ended!