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Love Liza review
:. Director: John Sherman
:. Starring: Philip Seymour Hoffman, Jack Kehler
:. Running Time: 1:30
:. Year: 2002
:. Country: USA
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In Love Liza, a film infused with the intense darkness of an espresso shot, Philip Seymour Hoffman pulsates in the role of Wilson Joel, a Web designer who can't get over the death of his wife and read her suicide note. The film follows his journey into self-destruction, softened with welcome touches of humor, until he finally accepts the reality of his situation by opening the letter.
Based on a screenplay by Gordy Hoffman—brother of Philip Seymour, and directed by their buddy John Sherman, Love Liza is a low-key and straightforward film. The linear narrative here doesn't matter as much as making the audience experience Wilson's pain. The character is the core of this bare film and despite the many locations used as backgrounds, we never have the impression of leaving his microcosm of suffering. The picture succeeds in transferring his devastation to the spectators, hammering them with some excruciating traumatic scenes.
Fortunately, the screenwriter and director injected some salutary doses of humor in the film, thus keeping the audience from jumping out of their seats. The web designer, a natural-born geek, finds an escape in the even nerdier world of remote control models, thanks to the help of his ex-boss' brother Denny (Jack Kehler). Following the unlikely pair on a road trip provides some good laughs, particularly since the Denny's blissful happiness contrasts so much with Wilson's mood.
Another aspect of the film, both pathetic and ironic at the same time, is that Wilson sniffs gas to get high, and even provides a couple of druggy teens with the goods. While the acts are shocking, the film also manages to make these scenes odd enough to be funny.
Less conclusive however, is Wilson's relationship with his mother-in-law (Kathy Bates). While she tries to help him, her ways as well as his response to the situation don't seem very credible: not only does she empty his apartment, which might leave the audience perplexed, but for a long time he thinks he's been robbed despite the fact it looks like the clean work of a moving company. In addition, the premise of the film, the opening of the letter, is pretty light and its consequences predictable. Love Liza would look like a TV movie if it weren't for its irony and its performances. The film shows affection for a pathetic character who commits grave actions but is never condescending or tries to judge him.
Jack Kehler, a stage actor in LA, is hilarious here and a total discovery. Not surprising, however, is Seymour Hoffman's interpretation. Rarely do actors dare to take such self-depreciating roles. He embodies his character, makes him a wounded, pathetic and sarcastic human being, using not only his acting talents but also his body. Watching him walking down the street in his underwear is as daunting for the character as it might be for the actor. And this is where—and not in the script or the direction—the essence of Love Liza can be found.
Fred Thom
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