In a suburb of London, young Jamie is escaping sport hours, to avoid being the victim of his comrades. Young Ste, his neighbor, is beaten by his father, and comes to sleep overnight. They discover new feelings, sleeping in the same bed.
Fifteen-year-old Beni falls in love with Fögi, a singer in a Rock band. As Fögi seduces him, Beni is willing to follow him where ever he takes him. But Fögi is a drug addict and pulls Beni ... See full summary »
Urs Peter Halter
Young Tim Cornish's life has begun with great promise. Blessed with extraordinary good looks, Tim enjoyed much attention and cared little of broken hearts. At University he was a favored ... See full summary »
Sensitive, somewhat effeminate farm-boy Duncan Mudge can barely cope with grim, since Ma's death even gloomier father Edgar's manly expectations, and seeks comfort in petting a chicken he ... See full summary »
Fifteen-year-old Howie loses just about everything and everyone in the space of a single week, but ends up finding himself in the process. His mother has just died. His father, a building contractor, can barely keep tabs on his young girlfriend, let alone his own son. Thusly, the teen must navigate his adolescence virtually unsupervised. Floating towards an ill-behaved existence, Howie and his crowd begin robbing houses in the middle-class neighborhoods off the Long Island Expressway. Together, he and his best friend Gary break into a place belonging to an old guy named Big John, a local man who is a respected pillar of the community. When Big John fingers Gary for the crime, Howie learns that his pal has been leading a secret, dangerous but also alluring double life. Subsequently, we also discover that Big John has secrets of his own. Written by
Sujit R. Varma
Brian Cox took the part of Big John Harrigan against the advice of most of his colleagues and his agent. See more »
The second black eye that Howie receives disappears and reappears from shot to shot. It is absent in the scene in which Howie and Big John shave; however, it is present in several scenes beforehand and afterward. See more »
L.I.E. Long Island Expressway. You got the lanes going east, and you got the lanes going west. And you also got the lanes going straight to hell. Lot of people died on it. Harry Chapin, Alan Pakula, the movie director. You probably heard of them. But you never heard of Sylvia Blitzer, my mom. She died on a crash on Exit 52. I really miss her. It's taken a lot of people and I hope it doesn't get me.
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Tune In-Turn On-Drop Dead
Written by M. Kinnander/H. Baumgartner/C. Sepulveda/H. Wilholm
Published by Sweden Music AB
Administered by Universal Music Publishing AB & Universal-Polygram
International Publishing Inc. (ASCAP)
Performed by Psycore
Courtesy of V2 Records, Inc. See more »
L.I.E. is the name of the movie and short for Long Island Expressway. At the beginning of the movie fifteen year-old Howie stands on top a bridge over that expressway . A fine opening sequence in which we are not sure he will jump nor how the movie will break away from the tense opening. He returns to the bridge several times during the movie. The fifteen year-old has lost mother to the L.I.E. and has no substantive relationship with his father. He becomes friends with another boy who sells his body to men at a local rest stop. Together they rob houses and are caught in the act attempting to rob the home of a pederast called Big John. Howie narrowly escapes sans the left rear pocket of his jeans which Big John has torn from him in the chase. Later the pederast and Howie become friends. I don't want to give away too much of the plot but I found this movie a sensitive portrayal of a difficult subject to present objectively(especially in these times of the new conservatism): namely man-boy love.
The film has a very erotic quality to it with some nice shots of the teen in underwear. The keen edge of the drama is mollified by fine sequences of comic relief involving the friends of the main character. Ironically the only explicit sex scene was a heterosexual one between Howie's father and his girlfriend. The sound track is very good I thought. I liked the bit where they played 'Hurdy-Gurdy Man' as Big John is cruising the junior high school. And they have a touching Handel aria near the end. I think the relationship between the boy and the older man was well done. The actor who played Big John was exceptional. Much light is thrown on his character in scenes having nothing to do with boys: his birthday party, his drive home near the end. The only part I did not care for was the ending. It did not seem to fit at all. Roger Ebert felt the same way indicating that it seemed like an ending spliced on from another movie. I agree. I give two thumbs up to this movie: one for the way they portrayed the subject matter and another for the fine acting.
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