L.I.E. Long Island Expressway

I've practically lived this film so I know what it portray's isn't exploitive or audacious in the negative sense. It's a simple story of a kid growing up in the suburbs. The meaninglessness and frustration of this way of life I felt was painted nicely by the cinematographer and the director. The omnipotent lukewarm attempts by the high school and social structure were represented in a fair manner. It's a story of a teenager dealing with many things straight on. This movie is really an interesting look into modern western life as seen by a young kid. The movie draw's you in like all good film-making should. The acting is great. The story will hold your attention and be engaging to you regardless of your childhood. The only stumbling blocks will be your own pretenses or cynicism. It's not a complex story on the surface but everything that isn't spelled out is where the weight of the film resides.

I think that's the adjectivian phrase that i'm looking for to describe my reaction to this film. From the opening film scene to the abrupt end my eyes were like saucers as my head often shook side to side as if to say no. As a shrink who deals with children, this is an excellent examination of how many times there are no easy solutions and good kids can easily find themselves in bad straits. This is the best movie that I have seen in the past 3 years, which is quite a compliment since I attend movies regularly. I've warned fellow movie buffs of the strong content while suggesting that they look beyond that to examine what they think about the films commentary on teens developing their identities as they seek to enter into adulthood.

Over the past few years I've been making an effort to watch a number of movies released in the 21st century that I hadn't seen in all these years. Among these were "Hustle and Flow" and "Blue Jasmine". "L. I. E." is the latest.

Released when Brian Cox was known for occasional supporting roles and Paul Dano was pretty much unknown, Michael Cuesta's movie depicts a topic that movies are usually loath to cover: a relationship between a teenage boy and an older man. The very idea sounds questionable - especially after all the revelations from MeToo - but the movie shows that it's basically the healthiest relationship that either person has had. Mind you, the boy isn't immediately comfortable with it, but he doesn't see much else to do, considering how pitiful everything around him is.

I wouldn't go so far as to call the movie a masterpiece, but it deserves credit for being forthright in dealing with its subject matter and not reducing the characters to cliches. I recommend it. I don't know if it's available on any streaming service, so you might have to check a neighborhood video store.

On the Long Island Expressway, Howie says, "You got your lanes going east, you got your lanes going west, and you got your lanes going straight to hell". Perched on a barrier above the Long Island Expressway ready to jump, 15 year old Howie Blitzer (Paul Franklin Dano) tells us that the L.I.E. has claimed many lives including folk singer Harry Chapin, film director Alan J. Pakula, and Howie's mother in a recent car crash. Now scared and alone, emotionally distant from his sleazy, corrupt father, and having fallen in with a gang of thieves and male prostitutes, Howie is poised to become the next victim of the Expressway.

L.I.E. is the coming of age story of a boy who must quickly develop resiliency to cope with the loss of the things closest to him; his mother to the L.I.E., his father to the criminal justice system, and his best friend Gary to the lure of California. More real than American Beauty, more honest than Ghost World, less sleazy than Kids or Happiness, L.I.E. is a tender and thoughtful, often funny, examination of the lives of suburban teens who are without guidance or adult role models and who must develop inner strength simply in order to survive.

Like taking drugs to numb the pain of their boredom and loneliness, Howie, his friend Gary, and a few others have been robbing the expensive houses of their Long Island neighbors just for the excitement of seeing how much they can get away with. One of their escapades takes them to the house of Big John Harrigan (brilliantly performed by Scottish actor Brian Cox), a macho ex-marine well known in the neighborhood as a chickenhawk (for those uninitiated, an individual with a predilection for sex with young men). This encounter is a turning point for young Howie.

Howie and Big John develop a relationship which, while the possibility of man-boy sex is clearly implied, is not threatening or exploitative, but provides Howie with the substitute father-figure he so desperately needs. In portraying Big John, first time director, Michael Cuesta resists moralizing and courageously defies stereotyping. (NOTE: in reality, the sexual predator is more likely to be an inconspicuous business or professional man who uses sex in a furtive manner to satisfy some unfilled need, not the flamboyant, in-your-face sleaze ball that Big John represents).

Paul Franklin Dano as Howie completely captures the confusion and neediness of a lonely teen trying to discover who he is, and he is very reminiscent of a young River Phoenix. Howie comes alive as an immature, lonely, and sexually confused teen, yet a sensitive and intelligent individual who writes poetry to give voice to his loneliness. Howie startles Big John with his knowledge of Chagall and quotes this Walt Whitman strain from Leaves of Grass to him while riding in his car:

"Never more the cries of unsatisfied love be absent from me, Never again leave me to be the peaceful child I was before what there, in the night, By the sea, under the yellow and sagging moon, The messenger there arous'd-the fire, the sweet hell within, The unknown want, the destiny of me."

It is uncertain until the end whether Howie will succumb to the forces closing in on him or develop the inner strength to cope with his loss.

This movie has caused some consternation in some quarters because it shows a sexual predator as a complex human being with feelings. Cuesta does not advocate man-boy relationships but does show that these relationships can often be based on mutual need, something some may overlook when screaming "sexual abuse". Cuesta forces us to look at the multi-leveled components of the relationship, both the predator and the protector, the manipulator and the manipulated. The filmmaker presents the older man as he is, an exploiter with layers of self-hatred and shame, but also as a human being, capable of warmth and love. At the end, if nothing else, I sensed that Howie through his pit stop relationship with Big John was older, wiser, and much more capable of dealing with his problems.

Despite some poorly drawn characters (his father in particular is a caricature) and an oversimplified ending that would have been better left on the cutting room floor, I truly loved this film and would recommend it highly.

Stupidly rated NC-17, L.I.E. is a film that should be seen by both teenagers and their parents.

This story rings true because it's something that happens in the real world all the time, whether people want to admit it or not. The film captures events and emotions that are complex, challenging, and confusing.

Howie, a young, intelligent, good-looking boy attracts attention from the same sex and isn't sure how he feels about it. He meets "Big John", and finds himself fascinated and impressed by the man's life, flattered and a bit scared at the attention he shows, and also somewhat repulsed by the man's attraction for young boys.

John, for his part, begins the relationship from a position he's quite familiar with: using his power as a worldly and canny adult to manipulate someone else. He feels physically attracted to Howie, but as they spend more time together, he sees the depth of the boy's character and a sensitivity similar to his own. Howie brings out the good side in John (and some people may be shocked that the film shows how a pedophile can have a "good side", but this is reality and it is well depicted).

Howie's feelings are excellently illustrated as they run a wide spectrum: confused, repulsed, lonely, defiant, confident, aroused, at times even suicidal. I empathized with and admired the character, and found myself rooting strongly for him to rise above the tragic and frustrating circumstances in which he found himself. In the end I felt a sense of triumph as we saw that, despite his unfortunate situation and his own flaws and weaknesses, he does possess the strength and character to face the world and become his own person.