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Love Liza (2002)

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Following the unexplained suicide of his wife Liza, a web designer turns to gasoline fumes and remote-control airplanes while avoiding an inevitable conflict with his mother-in-law.

Director:

Todd Louiso

Writer:

Gordy Hoffman (screenplay)
2 wins & 3 nominations. See more awards »

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A movie crew invades a small town whose residents are all too ready to give up their values for showbiz glitz.

Director: David Mamet
Stars: Philip Seymour Hoffman, William H. Macy, Rebecca Pidgeon
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Cast

Cast overview, first billed only:
Philip Seymour Hoffman ... Wilson Joel
J.D. Walsh ... Bern (as JD Walsh)
Jimmy Raskin Jimmy Raskin ... Pad
Kathy Bates ... Mary Ann Bankhead
Erika Alexander ... Brenda
Sarah Koskoff ... Maura
Mark Hannibal Mark Hannibal ... Waiter with Drink
Jim Wise ... Bland Man
Trace Turville Trace Turville ... Bland Woman
Wayne Duvall ... Gas Station
Stephen Tobolowsky ... Tom Bailey
Kevin Breznahan ... Jim
Jennifer Keddy Jennifer Keddy ... Lynne
David Lenthall David Lenthall ... Hobbytown USA Clerk (as David Lenthal)
Jack Kehler ... Denny
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Storyline

Wilson Joel is a man in trouble. There's a searing pain in his gut that he can't tolerate and a dazed quietness to his struggle as he tries to maintain his equilibrium. Wilson is attempting to move on from the sudden and inexplicable suicide of his wife. His mother-in-law is there for him, but her sympathies turn quickly. He has an employer that seems to want to help him, and a workmate who wants him for herself. But nothing and no one can give Wilson solace; so, he seeks oblivion. It is not the usual alcohol or drugs. Wilson inhales fumes from gasoline cans and model airplane fuel and finds temporary salvation in the company of remote-control model enthusiasts. However, nothing that provides him relief really lasts. Written by Sujit R. Varma

Plot Summary | Add Synopsis

Taglines:

A Comic Tragedy

Genres:

Comedy | Drama

Motion Picture Rating (MPAA)

Rated R for drug use, language and brief nudity | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France | Germany | USA

Language:

English

Release Date:

31 January 2003 (UK) See more »

Also Known As:

Con amor, Liza See more »

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Box Office

Budget:

$1,000,000 (estimated)

Opening Weekend USA:

$15,522, 5 January 2003, Limited Release

Gross USA:

$211,724, 13 April 2003
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

There are two scenes when Wilson (Philip Seymour Hoffman) is trying to get into his mother-in-law's (Kathy Bates) house, he is screaming and rattling the bars on the outside of the house, as if he is imprisoned. This represents the cage of grief, how inescapable grief is. See more »

Quotes

Mary Ann Bankhead: What did she say?
Wilson Joel: You wanna read it? Go ahead
Mary Ann Bankhead: It doesn't have my name on it.
Wilson Joel: Yea you're right. It doesn't.
Mary Ann Bankhead: But if it did I would open it, because that's what she wants.
Wilson Joel: Wanted. What she wanted.
Mary Ann Bankhead: And you refuse to honor that.
Wilson Joel: Is there something you wanna know?
Mary Ann Bankhead: No, I think there is something you don't wanta know.
Wilson Joel: I don't. I don't, I loved well. I did. I did, I loved well I don't want a letter. I don't want a fucking letter!
[...]
See more »

Crazy Credits

SPECIAL THANKS TO Melissa Morgan's Parents and Family See more »

Connections

Referenced in Film Geek (2005) See more »

Soundtracks

Through The Night Softly
Written and Performed by Jim O'Rourke
© 1999 Field Code Music (BMI)
Courtesy of Drag City
See more »

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User Reviews

 
A difficult to watch downer
26 March 2006 | by bandwSee all my reviews

Philip Seymour Hoffman plays Wilson, a software engineer who has just lost his wife to suicide. The movie traces Wilson's descent into gasoline sniffing, erratic behavior, wanton risk taking, and ultimate self-destruction.

P.S.H. and Kathy Bates turn in good performances but, whereas Hoffman is the central focus, his performance is a little more mannered and forced than we have come to expect from him.

Maybe there is no more meaning to grief than as a highly personal experience, but as a moviegoer having suffered through this man's trauma for an hour and a half I wanted more reward. The hook to keep us interested was the suicide note, but it turned out to be rather generic. At the end we are just left with lots of questions: what was Wilson's wife like, did he drive her to suicide, how come he had no friends, what was it in the relationship that the suicide knocked him for such a loop, what was he like before the suicide, does the final scene imply that Wilson has taken the final step into madness or that the only way for him to recover was to leave everything behind?

If you are a P.S.H fan, then maybe there is enough here for you, but I think this movie will be a little too dark for most viewers.


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