Love & Death on Long Island (1998)

An older artist, shunned by the white-hot media of the contemporary world, begins to glow again when he meets a handsome, not-altogether all-American boy. In 1998, two writer-directors brought extraordinary care to this subject, creating films that appeared on several top 10 lists. Gods and Monsters won an Oscar for Bill Condon's screenplay and a nomination for Ian McKellen's acting. Richard Kwietniowski's Love and Death on Long Island was forgotten during the award season. John Hurt has rarely been better as Giles De'Ath, a renowned British author of dry, laborious text. By sheer accident he sees a Porky's-type comedy at the theater: Hot Pants College II. About to leave, he spies on screen his very idea of beauty: a near-talentless American actor named Ronnie Bostock (Jason Priestley, in another deft, underseen performance). So starts De'Ath's very long trek out of his shell. He is so out of touch that when he purchases a VCR (to see the original Hot Pants College, no less), he doesn't realize he needs a TV set to view the picture. By film's end, he will meet his idol and jump into an abyss. Kwietniowski's debut film has uncommon sensitivity in the realm of fantasy and dream makers. As with Gods and Monsters, its homosexual undercurrent can play comfortably in front of straight viewers looking for crisp writing, fresh perspectives, and great acting. --Doug Thomas Amazon.com

Slow but Witty

"Love and Death on Long Island"

Slow but Witty

Amos Lassen and Cinema Pride

In "Love and Death on Long Island", consummate English actor, John Hurt, plays Giles, a lonely and tired writer who is out of touch with the modern world. Jason Priestly plays the object of his desire. When Giles first meets Ronnie Bostock (Priestly), he finds a new reason for living as he pursues the young man. Seeing shades of "Death in Venice" and "Lolita" is this film is not surprising as the younger man is actively pursued by someone much older.
Giles is a stuffy English writer obsessed by an American teenager and grade B movie star. He goes to Long Island to find the guy and actually does so. Giles is an intellectual, crusty and 60ish and Giles manages to woo Ronnie. Hurt is perfect in the part and he gives us some wonderful acting. As he starts his new life while going after Ronnie we see him with warmth that the character has probably never felt before. When he offers to Help Ronnie in his career, it s clear to us that he does so in order to keep the young man close t him.
Giles has been in a state of self-exile from the modern world. He lives in a stuffy flat in London which is dominated by a picture of his recently deceased wife and all of his emotions are totally repressed. When fate aids him and exposes him to Ronnie, he finally begins to understand his true sexuality and he finds a semblance of happiness. His obsession for Ronnie is thoroughly satisfying for him.
The confession scene at the end of the movie is touching and filled with raw emotion. It is exactly the moment when Giles realizes that he is in love with Ronnie and lusts for him sexually. He does not merely admire him. Faced with the risk of losing the young man, he is ready to go actively after him and as Ronnie becomes more reluctant, Giles becomes more desperate.
One of the most surprising things about the film is the ability of Jason Priestly to carry his role nobly. He holds his own against Hurt who is pure magnificence.
The artistic convention of the older mentor and the younger muse is not new but it is handled beautifully. Other interesting ideas are raised as well--the nature of love and how those who are set in their ways can find a new reason for life.
August 5, 2007

"Death in Venice" Updated

The perfect change of venue for the "Death in Venice" thematic -- older man falls in love with younger male, only here it's a pedantic Brit writer and the boy is . . . a Hollywood pulp actor in movies like "Hotpants College II" (!) who lives on Long Island. As in Mann's original story, the fixation is Platonic rather than sexual, but the film pulses with pathos, a dark Wagnerian atmosphere perfectly captured by the haunting, sublime music score by Richard Grassby-Lewis, but also the drollest wit in recent moviemaking. John Hurt as the older Brit is just priceless, his role a gem with facets that gleam in all directions...I give it the full galaxy of FIVE STARS.

April 29, 2007

John Hurt is wonderful, as always

the suprise was "Brandon Beverly Hills 90210", he played his part with genuine naivate' and boarderline gayness. Old queens are very sad and pathatic, but John puts spin of his own on his. He's a widowed Englishman,who by chance see's a movie with Jason in a bit part, and falls deeply in love with him, so he decides to take a trip to Long Island, New York to accidently "run into" him on the beach. His plan works almost perfectly until he declares his passionate love for Jason and spoils the whole charade of being interested in his career. Americanized version of Death in Venice, very well done. Enjoy! April 5, 2007

Light, and deep. Profound and easy. difficult mixture to read.

when I was a kid I went to the movies and saw 'Death in Venice'. by the time the old guy is at the beach literally melting while staring at Tadzio, I almost couldn't stop to laugh, such a clumsy scene.
Reading here all the time this is a ¿gay? movie, about and old guy with a crush for a teen star, I think the real point is missing: about the portrayal of the epiphanie bring to life by the contemplation of beauty in any form. And then quite surprisingly, the answer back, in here beauty answers, in such a way, in the middle of the road beauty and intelligence recognize each other perplexed, yet fascinated.
so the idea of something laughable is gone, even the premise when presented as an old man, with manners of an old lady going after the 'twink', thats the idea of a common place, like when somebody says here: same story about old men after a boy with a girl, etc. that is just reading the surface, not even of the movie, but of the comments in the box.

The box says is more funnier than 'full monty', the reviews that is between god and monsters and other gay movies. do not expect that, if you give the chance is farther more profound, and the same time quite simple and light.
Amazing this guy Jason never raises as a bigger Star. Hurt extraordinaire, as usual.
Both alone here, almost without any other noticeable cast, it can be seen closer to theatre than cinema. March 10, 2007

five big ones

This is one of the greatest movies ever made. Nearly every scene is perfect. The performances are fantastic, and the movie manages to be both moving and hilarious. It's sort of an updated version of Death in Venice. December 17, 2005

More reviews at Amazon.com ...