Customer Reviews

L.I.E. (Unrated Edition) [VHS]

5 star:		(74)
4 star:		(25)
3 star:		(11)
2 star:		(1)
1 star:		(6)

 

 

It is not surprising to me that viewers are so quick to bandy labels around while discussing L.I.E.. Pigeonholes make matters of the heart that are otherwise complicated and hazy, easy to deal with for those who hate to think or be challenged. If that's what the creators of this excellent film wanted to do, they would've issued out black and white cowboy hats to the actors.

But this movie is not simplistic. Listening to the commentaries by both the director, Michael Cuesta, and Brian Cox (Big John), I noticed that neither ever utters the word "pedophile" in relation to Big John (In fact, the film itself shows he not only desires young teenagers, but young, adult men of 18-21 range, and women as well). Nor do they peg Howie as a "gay youth"--in fact, they both deny that Howie's sexual identity is set. That's because L.I.E. is not about categories, it is about the complexities of the human heart that lie beneath the surface.

For myself, L.I.E. is about two things: (1) discovering the difference between love and lust, and (2) the fundamental condition of human loneliness and our search for honest intimacy. After the recent death of his mother, Howie has just discovered deep loneliness and is trying to resolve it as fast as he can; running away to California for adventure with a rebellious, sexy friend seems like the magic pill/instant cure for all his problems. As for Big John, years before the time of this film he decided to quench his loneliness in shallow sex with males of various ages, and in creating broad yet shallow relationships with the prominent members of his community. Yet he's never allowed anyone to get inside and really touch his heart, apparently not even his current adult lover/roommate.

Suddenly, Howie is confronted with this man, who unlike Howie's father or friends, has answers to his questions about his worth and place in the world (and also knowledge of sex, which is a big part of life for a teenager). Simultaneously, the once-"Big" John is rendered small and weak in the face of the quiet grandeur and adolescent vulnerability of Howie's gentle, honest nature. For a moment, their lives intersect and neither of them knows quite what to do...both are in foreign territory, and both walk away with something they never had before. Howie walks away with the knowledge of his own value as a human being (hence, he's able to assert himself in confrontation with his father later in the film, and proclaim himself to the world), and John walks away knowing that he's made a permanent and vital difference in the life of another person, and that he's finally loved someone else, truly and completely.

This film should not be missed, misunderstood or pigeonholed and forgotten. It is a boundary-breaker that speaks of the need for love and intimacy that lies most deeply in the human soul, regardless of superficial appearances.

Too many people require a big round of applause for this marvelous film. Michael Cuesta's first feature length film is extremely controversial, and at some times disturbing. Yet it is remarkably well written, well directed, and well acted. Howie(a stunning performance by newbie actor Paul Franklin Dano) is a 15 year old boy growing up in Long Island. His mother was killed on the L.I.E(long island expressway), his estranged father hardly knows him, he only has 1 friend who is planning on leaving for california. So needless to say Howie has nothing. This movie is a coming of age story where howie befriends a pederast named Big John(brilliantlly portrayed by veteran actor Brian Cox, the original Hannibal Lector) who ends up becomming a father figure to Howie.

There are homosexual references in the movie, but this is not a movie about homosexuality. There are references to pedophillia in the movie, but this is not a movie about pedophillia. It is a story about a boy who finds that important something in his life that is missing. This movie is controversial because one of the main characters is a pedophile; yet when you see what importance he has on Howies' life you begin to feel sympathetic for the man. Regardless of this, there are no inapropriate sex scenes, over the top violence, or extreme vulgar language that you find in most movies today. Yet this was unfortunetly given an NC-17 rating, stopping many people from viewing this terrific film.

Keep an open mind when watching this film and take it for what it is, an extremely down to earth, emotional coming of age story. I honestly cannot give enough praise to director Michael Cuesta and actors Paul Franklin Dano and Brian Cox. Independent or not, this has to be one of the best films of 2001 - A must see for any movie fan!

It's no wonder that this movie has had mounds of awards and critical praise heaped upon it. It's truly remarkable and lingers with you long after the viewing. I'll not recap the plot as that can be found in Amazon.com's review, but in all earnestness, to take such disquieting subject matter and craft it into a touching and thought-provoking movie is the work of no small talent indeed. Cuestra deserves all the accolades he receives for this alone. The performances turned in by Brian Cox, Paul Franklin Dano and Billy Kay are truly devastating in their sincerity, especially those of Cox and Dano. I can scarcely contain the respect I have for people who are so truly gifted as to deliver such compelling and believable performances. One of my favorite lines from a review of this movie summed up the humanity of the pedarest Big John best by saying something to the effect that the victim was choosing to be ensnared, but the predator chose not to strike. Truly, this is not a "sick man" to be easily encapsulated and defined, and summarily dismissed -- he is just a man who lives with his unfortunate sickness, much as do alcoholics, drug addicts or pathological adulterers. This is certainly not a "date" movie, nor is one for the closed of mind or prudish of spirit, but for the open and engaged mind, you'll find few movies as haunting and effective as "L.I.E."

L.I.E. is one of a growing number of 1990s and post-90s films that deal with the subject of the chosen (and erotically charged) father-son relationship. Others include Our Lady of the Assassins, Wonder Boys, The Apt Pupil, and Gods and Monsters. The movie is full of beautiful mournful music and the ubiquitous zooming sounds of vehicles speeding along the Long Island Expressway. It is a superb coming-of-age story, worthy to be mentioned with Stand by Me or Y Tu Mama Tambien, but it's bolder than both of them...

Bolder because it deals with the taboo of physical intimacy between men and adolescent boys. Where most movies depict pederasts as monstrous villains and one-dimensional predators, Brian Cox's John Harrigan is a nuanced character we both like and despise. In fact, given how 15-year-old Howie Blitzer's blood father Martin ignores him, focusing instead on his job, his legal troubles, and his rebound girlfriend (and blackens his son's eye in one impulsively violent scene), we're not even certain if John wouldn't be a better male presence in Howie's life than Martin!

The movie shows a band of male teenagers (Howie's hangout buddies) who seem true to life, and therefore prone to popping boners unexpectedly, bawdy and inane conversation, roughhousing, and nonchalant homoeroticism. This particular teen wolfpack is more transgressive than most, adding prostitution, burglary, and incest to the mix. Yes, L.I.E. won't be for everyone. It doesn't flinch at marginal sexuality, and mentions unmentionable subjects.

One last comment: Paul Franklin Dano's performance as Howie is phenomenal, some of the best teen acting I've seen. I hope this gifted actor has a huge career, not necessarily in blockbusters but in small, subtle, and intelligent films like L.I.E. The scene in which Dano's Howie recites a piece of Whitman's "Out of the Cradle Endlessly Rocking," turning the tables on his would-be seducer, is stunning. It's with a shudder that we realize it's a poem about lost innocence. Congrats in fact to everyone involved in this picture.

I just saw this film, after hearing a great deal about it. I must say that all the controversy that has surrounded this movie is completely unwarrented. This was a beautiful, heart-breakingly done coming-of-age story. The pedophilia angle is merely one aspect of a very multi-faceted film. The acting was uniformly excellent, and the direction and cinematography were superb. Along with Mulholland Drive and Donnie Darko, one of the finest films of 2001. I suppose it is necessary to say that this film might be disturbing to some viewers, but art is not made to escape to. Nor is life, for that matter.

Howie is a beautiful fifteen year old boy who has recently lost his mother and is struggling to accept his father's girlfriend as well as his own strong feelings for his friend with whom he breaks into houses. He gets caught after a break in by 'Big John' who finds young boys quite attractive. His friend runs off to another state and leaves Howie in the midst of this. Slowly a relationship that lies somewhere between pederasty and father-son develops between 'Big John' and Howie. It is disturbing at times to witness the relationships in this movie because of how gritty, painful, and even heartfelt they can be but the love that 'Big John' and Howie have is very unique and it can only be described as something rare and beautiful. I would hate to think that there are people out there who would discount the value of this movie just because it deals with homosexuality and also with intergenerational love. The cinematography is OUTSTANDING and brings something irreplaceble to the film. The end of this movie is rather on the anticlimactic side and leaves you wondering if the reel snapped. In retrospect it leaves nothing to be desired and leaves you with a substantial amount of food for thought.

I've just watched this film... I probably haven't totally digested it yet, therefore, I am also probably premature in reviewing it, but I'm doing it anyway. The foremost thing I took from this film is a renewed interest in viewing non-mainstream movies, because it reminds you that there are many superb actors and directors out there that are not very well known. As a person who had a lonely, neglected childhood, I can't say this film was easy to watch. It certainly is totally truthful and brilliant in its telling of the vulnerability of youth. All the actors are amazing, especially the young actor who plays "Howie", the sensitive, aspiring poet with no mother and an indifferent father. His obvious lonliness and vulnerability are painful to observe, and, though wary, leaves him fair game to almost anyone showing affection or concern. I can't say I didn't feel somewhat uncomfortable when he is befriended by the ex-marine pedophile, who takes a true interest in the boys well-being, abandoning what perhaps was initially just prurient interest. Also a standout is the young actor who portrays "Gary", the beautiful hustler, whose life is so unsupervised that the only clue to his home life is an empty house, any parental figure is never introduced in the film. He definatley has the quality of a young Brando, if comparisons can be made. These young actors both seem destined for successful acting careers, though hopefully "stardom" will not ruin their talents. It is just so refreshing to see new , unaffected portrayals, I mean, it gets so tiresome seeing the same handful of actors sleepwalking their way through roles, simply because their *starry* name guarantees $$$'s at the box office (sometimes). It is great to see new talent given a chance to blossom. This film is similar in tone and atmosphere to "My Own Private Idaho", and "Howie" evokes qualities of River Phoenix, who starred in that film. I'm honestly not sure if I thought this was a "great" film, I presently think of it as a sad but very good and atmospheric study of real life occurences, with exceptional acting. I guess you could say the acting is what makes it great. Worth seeing.

It is unfortunate that this compelling, insightful movie received a rating which is basically a kiss of death to a movie's success. This movie is an excellent look at a very dark problem, one which has made the news a lot lately, pedophilia. It in NO way glorifies that problem, but explores it in a realistic way. Paul Franklin Dano is believable as a troubled, but intelligent, kid, and Brian Cox is superb as the pedophile who finds something better to search for in his relationship with the boy. By making the pedophile more human, and not just a monster, the audience is forced to admit that a pedophile could be anybody, not just someone who might "look like" one. This is an intelligent coming of age story, an expose on many of the problems inherent when the family structure is either broken or threatened. Finally, I think it exposes how a pedophile can gain access to a young person- they may indeed fill a need the child is missing at home. I think that's a wake up call to parents to spend more time with their kids, listen to them, and love them, no matter how difficult they may be.

I must say, this movie sent me back in time and really touched me. Like Howie, I was also courted by a pedophile when I was in my mid-teens. And like Howie, I was never touched. I don't know if anybody who has never had an encounter with a "gentle" pedophile could ever understand the beauty and sadness of this movie. It moved me, it made me nod and remember fondly the old man in Apt 42 who always knew what to say to the teenagers to get them to come inside. Many of my friends did have sex with him, but I never did, because he chose to nurture me as a person during the bitter divorce of my parents. I don't know what I should say or feel about what he was doing to others, and I don't know if I stand fair enough to judge him by those deeds, but to me he was a savior. He made no attempt to hide the fact that he desired sex with me, but he knew that I was frail and needy, and to take advantage of me would be to ruin the innocence I had that had attracted him to me in the first place. He went to prison, so I heard, several years after I moved away from the apartment complex we lived in, and I had almost forgotten him in the last 20 years, but this movie brought his memory to surface. It is altogether haunting, and beautiful, and very realistic. Many of the conversations and situations that occur between Howie and John were seemingly verbatim of my experiences with my "gentle" pedophile friend. Very outstanding, morally challenging film that I would recommend to anyone who is able to get over their initial shock over the word pedophile.

Big John is a retired marine homosexual pedophile whose Long Island doorbell plays "From the Halls of Montezuma..." when rung. He is a guy who has lived a James Bond kind of life who likes to... Well, I can't say, but it should be obvious what he likes to do.

Howie is a 15-year-old boy who has lost his beloved mother and has a father who is too busy for him and hasn't a clue about what is going on in his son's life. Howie and his friends are into breaking into the mini-mansions on Long Island for fun and profit. One night they break into the cellar of Big John's house and steal his prized set of handguns. Big John goes looking for the perps and what he finds is true paternal love.

What makes this an outstanding movie is director Michael Cuesta's relentless and uncompromisingly realistic treatment of what is essentially a taboo coming of age story. I can tell you that if the theme appeals to you, you will be completely captivated by this movie. And even if such a tale is not your cup of tea, you might want to see this anyway because it is so very, very well done without a hint of contrivance or pandering. It is beautifully acted (Paul Dano playing Howie is outstanding, as is Brian Cox as Big John) and beautifully directed and cut. The script by Stephen M. Ryder, Michael Cuesta and Gerald Cuesta is replete with precise and totally authentic dialogue. The characters are nuanced and faithfully realized. The theme of love over predatory sexuality is convincing and worthy. Furthermore, the sexuality depicted is just vivid enough to make sure we understand what is going on without resorting to anything graphic.

(I saw the R-rated version, but I think it is the same as this one, which Amazon says is unrated. I understand there is an NC-17, but I don't think it matters. For those who are going to be offended, I think a PG-13 version of this movie--were it possible--would offend them.)

I think the resolution of the film, both in terms of what happens to Big John and to Howie was exactly right, but some may find it a little too neat. Certainly the ending as done does not leave any ambiguities lying around, although I suspect there is a scene where Howie's dad accuses him of stealing his hundred dollar bills somewhere on the cutting room floor, and really that's okay, since it wasn't needed. Or maybe I missed it.

Bottom line: something close to a small masterpiece: the kind of movie that tells us some truths about life that cannot be expressed in so many words--in other words, a work of art.