L.I.E.
(Long Island Expressway) (2001)
A few days ago I saw a film called "The Medicine Show,"
a comedy about a cartoon writer who has colon cancer.
In my review, I joked that it broke one of the last
taboos, a comedy about cancer, and that the only taboo
left unbroken in cinematic humor was a comedy about
pedophilia. Along comes "L.I.E.," a surprisingly frank
and bold film about pedophilia. Watching it, I must
have laughed 20 times.
Here's a sample of a joke from "L.I.E." (paraphrased).
After a discussion about the Man's previous work as
a Diplomatic Attache:
12-year-old Boy: So you were a spy... like James Bond.
Pedophile: Yeah, sorta like James Bond.
12-year-old Boy: Yeah, except James Bond doesn't go
around blowing boys.
Pedophile: (laughs). Yeah.
Now, on the surface, this joke may seem in pretty
bad taste except that the character of the boy, Howie,
who we later find out is 15, he just looks 12, is extremely
smart and talented. He is no victim here. He quotes
Walt Whitman. He writes poetry. He is called "the brain"
by his friends. He is honest and true. It's a remarkably
fresh and complex character played by Paul Franklin
Dano. This kid understands Howie and brings forth a
young man that we come to love and care for.
Trouble is, the character, as drawn by writer/director
Michael Cuesta is also full of cliches. His mother has
just died. His father is distant. He is all budding
sexuality. He is falling in love with his best friend,
the thuggish Gary (Billy Kay). When the boy becomes
involved with the pedophile, it is because he has issues
at home, at school and with his own new-found sexuality.
Yes, it's remarkable that this character even exists
in a film. It's remarkable that this film exists. But
the real motivation here is weird yet typical. Howie,
the boy, is desperately in need of a father figure.
He is in desperate need of anyone who can care for him,
nurture him, love him, accept him.
Big John, the pedophile, is played by Bryan Cox. He
has even more typicality at times. We don't find out
Howie's age until almost the end of the film; he is
simply "a boy." Big John, we learn on his first appearance,
is 55. Big John is rugged yet fat, creepy yet intelligent,
ashamed yet enticed, typical yet atypical. Again, it
is amazing this character even exists. But why does
he have to be so creepy? Why do the filmmakers throw
in a subplot about a current young male lover (who,
it appears is retarded), whom Big John rebuffs in order
to "seduce" Howie?
Well, for one reason, they have designs on a climax
that is as hollow as it is Hollywood. Like the worst
of Hayes era films, "L.I.E." insists on ending badly.
Insist that Big John be punished. Pedophiles must die...
musn't they?
The film begins with a marvelous sequence where Howie
appears on a walkway above the busy traffic on the Long
Island Expressway. Eventually, he climbs onto the handrail
above the walkway and balances precariously on the edge
of the railing. We fear he might fall to his death.
Not content with this feat of daring, Howie then balances
and throws his hands into the air. He seems triumphant,
almost ready to take flight. And finally, still not
satisfied, he puts on foot forward, toward the fatal
drop, and balances on one foot. He steps closer to the
unknown, perhaps toward death, perhaps towards flight.
It's a remarkable and breath-taking metaphor for the
journey Howie is about to embark upon. It is harrowing
and poetic.
Cuesta films the piece really beautifully. The shots
of Howie dealing with his emerging homosexual feelings
for Gary, their horseplay just bordering on homoeroticism,
is beautiful. Dano and Kay are often just this side
of exploitation themselves as Cuesta lenses their dewy
fresh sexuality by exposing them shirtless and in slightly
sexual situations. At times one wishes this was simply
the story of Howie and Gary and how they become young
lovers, but that is not what is truly at play here.
On the negative side, Howie is instead drawn into
a world of homosexuality that is as stagnant and as
troubling as any early gay film, like "Boys in the Band"
or "Cruising." I suppose in these dark ages of pedophilia,
where it is still something vastly misunderstood and
troubling, it is too early to expose anything else.
A small independent film made last year, "Eban and Charley,"
was able to allow it's lovers, albeit the man is only
in his late 20's and the boy probably 16, a chance at
a happy ending. It's lovers, in the end, run away together
to, perhaps, live happily ever after. Nothing like that
is happening here.
But this film does leave you with a sense that Howie
is better for having known Big John. The film wisely
sidesteps any real sex scenes between them, allowing
the audience to decide for themselves if one indeed
occurred. (A metaphoric scene suggest that it does).
But, at film's end, if nothing else, one senses that
Howie is older, wiser and much more capable of dealing
with his familial problems. He gains this wisdom assuredly
from knowing Big John.
It's just a shame, in a way, that Howie has no real
uncomplicated outlet for exploring his new-found sexuality.
I suppose this is realistic. We have moved from a cinematic
world where homosexuality was stunted and made joke
by outside forces to a world where young males are left
with no acceptable options when coming out. Now we have
turned the focus inward. For example, in the film "Gypsy
'83," Todd Phillips explores these same themes when
his protagonist has his first sexual experience with
a closeted young fratboy who later gaybashes him. Even
later he is treated rudely by other gay boys who expose
him as a neophyte and make catty remarks about him.
I suppose there can be no coming out (in film, anyway),
where there is no drama. It's just sad here to watch
Howie left with only one option, Big John. And Big John
may or may not take advantage of that. We have to decide
for ourselves.
And finally, while it is true that Big John sure exploits
the situation for his own sexual gains, he is also kind
and loving and mentoring. Howie surely gains from knowing
him. Is Howie old enough and mature enough to decide
for himself to enter into a relationship with the man?
He is forced, through circumstance and through Big John's
cunning, to spend time with the man. Yet Howie also
has the option of running away, (Big John never forces
him to stay near him). He also fantasizes about Big
John and masturbates. And, finally, like teacher and
student, he finds in Big John a person who he can talk
to and who understands and accepts him. Like all sexual
relationships, it is complex and each person has something
to lose and something to gain. Big John finds in Howie
a boy who is more than street urchin, more than "trade."
Howie finds in Big John a man who listens, a man who
is interested in his mind and his body, a man who is,
in many ways, his intellectual equal.
"L.I.E." is a huge film. It's very important. And
it is well-made, real and full of beautiful moments.
Dano, as Howie, is a young man that captures our hearts.
We care desperately for him. It just hard to watch him
released into a sexual world where he has no tether,
where he has no resources, where he has no one to guide
him. Like so many young gay men, or at least young men
dealing with the possibility that they might be gay,
Howie is left adrift. The world could easily beat him
up. It is only his intelligence and emerging tenacity
that allow him to persevere and prevail.
But what about those without such talent, intelligence
or common sense? What happens to them? When will we
as a society learn to deal with this budding sexuality
without exploiting it? Is that even possible? Is it
exploitation, is it pedophilia, or is it man/boy love?
These are the questions "L.I.E." left with me. I defy
anyone with an open mind to watch this film and walk
away unchanged, without questions.
Note:
Dano and Kay also appear in "The Newcomers" together.
|
Report
Card
Script:
A
Acting: A+
Cinematography\Lighting: A+
Special Effects\Make Up: A+
Music: A+
Final
Grade: A+
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