In conclusion, a good remake, loyal to the original story. LMI's OST is, to its most, up to a "hardcore" horror film's suspense scenes, whereas LTROI's music is as beautiful, as poignant as the movie. Here I have to say LTROI's soundtrack totally outworks that of the remake. They are too violent, bloody, and explicit, which, I think, largely spoils the basal tone of the movie, inserting some cheap and inconsistent horror elements in this supposedly beautiful, ambivalent movie. As a whole, I find the remake's interpretation of the gory scenes as a failure. I am personally neutral to that change, though I believe that we need not give further emphasize to Owen and Abby for a better character depiction. "More focused" has two senses: in one hand, filmmakers tend to let Owen and Abby physically occupy a bigger part of the screen, instead of the wide-angle lens in LTROI in the other hand, the director cut many "peripheral" scenes (scenes where actors other than Owen and Abby interact). Also, I feel that the American remake is more "focused" on the two protagonists than the Swedish one. Here, instead of giving a direct shot to Abby's under (which I find totally unnecessary in LTROI), the director chose to interpret Abby's gender in a very ambiguous way, leaving much room for interpretation. The real gender of Abby is one of the hottest topics amongst fans. Personally I give credits to that change, as it better alludes to the tenderness of Owen and Abby's friendship / love. The director has obviously chosen a warmer tone (under orange-yellowish street lamp) in which our two protagonists interact, as compared to the sharp contrast of white snow vs dark sky in the original one. The first one is the ambiance colour tone of many scenes where Owen and Abby meet. This, on the other hand though, might disappoint some fans who watch the remake in search for a revolutionary interpretation of the old story, YMMV. We can tell see that the filmmaker had no intention to challenge the basic tone of the story, a beautiful love tale under vampire's cover. More importantly, the tranquillity resembles a lot to the Swedish one. Many settings are almost identical with the Swedish one, so are quite a number of actors' lines (well of course they spoke English in this one, no Svenska LOL). In general, this remake is in line with the original book (and the original movie). Honestly, I was a little worried when I went to the cinema, being afraid that the story would be degraded into a superficial Hollywoodian fest of clichés and pure visual stimulations. In general, I am not disappointed (if not a little pleasantly surprised) by this remake, though it still cannot catch up with the original one as a whole. That being said, I just watched the remake.
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I believe that many viewers of this movie are fans of the original Swedish movie LTROI, so I won't be emphasizing on how much I am fond of the original one – and here we are for the American remake. In 'Let Me In' (and in the source novel and film), permission must be granted every time. Modern vampire stories in television and film ( True Blood (2008), The Vampire Diaries (2009), Buffy the Vampire Slayer (1997)) changed this requirement, such that permission to enter need only be granted once. Historical mythologies have stated that all supernatural beings are unable to enter a house unless they are invited, but the first novel about vampires ('The Vampyre', John William Polidori, 1819) did not mention this requirement, which was first applied to vampires in 'Dracula' ( Bram Stoker, 1897) - but permission was required each time the vampire entered the house. But this detail is a relatively new addition to vampire lore, and only applies to specific depictions. According to the canon of modern vampire stories, the scene where Abby comes in uninvited and begins to bleed to death shouldn't have happened: Owen had already invited her into the apartment in a previous scene, and if a vampire is invited in once they never have to be invited again.
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