Film Review: L.I.E. (2001)

This is apparently the first I've seen of the films featured in John Waters presents Movies That Will Corrupt You. Unlike how I would imagine the bulk of that list to be, this film is disturbing in a purely subjective way; it doesn't have to show some profoundly graphic scenes to cover some daring territory. I was suprised to figure out that this film is over five years old for its rather taboo subject matter. I wouldn't be surprised if it was very talked-about around the time it came out, but I simply discovered it by randomly picking it up at Blockbuster.

Fifteen-year-old Howie has recently experienced the death of his mother (her death was based on an actual car accident of many to occur on the Long Island expressway, a.k.a. the L.I.E.) and the increasing neglect of his father and regularly engages in robberies with a group of three other kids. His best friend Gary is the ringleader of all their troublemaking and the two have a remarkably tender relationship for two boys their age; though the possibility is only explored to the extent of youthful sexual confusion, Howie seems quite possibly in love with Gary, who returns his affection but seems only capable of smug could-be flirtation. Grappling with a natural sense of abandonment from his parental situation, Howie seems tragically latched onto his wild-natured friend, who is clearly a sour influence on his otherwise intelligent and innocent nature. Soon after it becomes clear that a man the two of them got caught in the act of robbing has some sordid familiarity with Gary, Gary splits for L.A. and leaves Howie alone with threats from "Big John" insisting he return the two pistols that were stolen from his basement - or else, we might conclude, satisfy another certain appetite.

But maybe not. Big John is probably a pedophile, or probably was a pedophile, but the question that stirs up the rest of the film is whether he wants to continue being a pedophile. As John and Howie's encounters progress, John becomes ambiguously kinder and always treats Howie as an equal, and even more comforting to the tension of the situation is Howie's ability to level with and even patronize John with the knowledge that the man is obviously a pervert. Of course we're not supposed to think their relationship is completely healthy, but just the same it seems like something they both need. Perhaps the moment that opens up John's sympathy for a boy that's not being taken care of at home is the only time he truly hints at wanting to take advantage of Howie's debt to him, when he asks, "What have you got that's worth a thousand dollars?" The thing that's truly crushing about the moment is that Howie seems earnestly self-disparaged when he nervously replies, "Nothing." A growing mutual understanding that they both know John is a piece of trash allows us to access the strange companionship without feeling like our hands will come out dirty. As for how the film ends, uncomfortable moralists will be assuaged and the apparently corrupted will scratch their heads and wonder why it works.

On a side note, there was some absolutely gorgeous music in this movie composed by Pierre Foldes, which is unfortunately not available on CD. I frown.