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01/10/03

1 hr. 33 mins.
Starring: Philip Seymour Hoffman, Kathy Bates, Erika Alexander, Sarah Koskoff, Stephen Tobolowsky, Shannon Holt
Directed by: Todd Louiso

Rating: *** stars (out of 4 stars)

Are we sensing an on-going trend in sardonic grief-stricken comedies or what? After the releasing of Alexander Payne’s exceptionally soul-searching, angst-ridden vehicle About Schmidt, we’re treated to another off-the-wall offering of the same precarious ilk in director Todd Louiso’s somber and shattering display of loss in Love Liza. Both Louiso and screenwriter Gordy Hoffman (brother of the film’s resilient star Philip Seymour Hoffman) devise an absorbing and wacky intimate story of frustration and anguish in the echoes of self-inflicted madness and its unpredictability. Love Liza doesn’t have the flowing comical scope or bouncy bewilderment that shines so effectively in About Schmidt. However, Louiso’s intense and droll narrative is still a respectable portrait of cockeyed despair set against the moodiness of a dark, weeping comedy.

Love Liza tells the achingly raw tale of a disillusioned Web site designer named Wilson (Hoffman). Wilson is a young man who’s understandably devastated when he finds out that his wife spontaneously commits suicide. Plus, he discovers that she left behind a suicide note that was neatly placed inside an envelope addressed to his attention. Poor Wilson is in complete shock and denial and refuses to read his dearly departed spouse’s note. He’s obviously fearful of what it might contain so his dealing with this matter is to simply avoid the envelope’s contents. Basically, all Wilson has to look forward to is stumbling and bumbling around in an attempt to lessen the numbness in his broken heart.

In the meantime, Wilson’s associates try to comfort the distraught widower by allowing him personal perks to take advantage of so that he can handle his tragedy a tad bit easier. But no matter how good the intensions are from his friends and colleagues to offer whatever sympathy Wilson desperately needs, the guy gradually succumbs to odd behavior. Apparently there’s no comfort zone that can pad Wilson’s chaotic nerves and fragile psyche. The guy’s downward spiral consists of peculiar tics that seal the authenticity of his self-destructive tendencies. Whether sleeping on the darn floor or laughing aimlessly at unfunny quips, Wilson is a disturbing individual in the making. Heck, the guy doesn’t even traditionally escape his sorrows in the traditional sense via alcohol or drugs. Instead, Wilson resorts to inhaling gasoline fumes as a way of escaping his escalating depression. The golden question remains: can this out-of-touch individual be rescued psychologically before more emotional damage reinforces his current erratic sensibilities?

It’s not only intriguing to witness the downfall of Wilson’s sanity in sizeable steps but the observation of seeing other folks cater to his so-called “concerns” is equally interesting due to the underlying selfishness that’s also involved. Case in point, Wilson’s blunt mother-in-law Mary Ann Bankhead (played by Kathy Bates who ironically portrays another highly spirited three-dimensional mother-in-law of another flaky kind in the aforementioned About Schmidt) insists that he open that envelope because her deceased daughter may have mentioned her name. It does not register to Mary Ann in the least that opening up that note could be toxic for her unstable son-in-law. Her self-interest is more important than Wilson’s fragile feelings regarding that distressing correspondence left by the late Liza. There’s even a moment in time where some bystander latches onto Wilson because he heard of his penchant for collecting remote-control airplanes. Whatever the motives are behind these intrusive folks, they mean well in trying to support Wilson but only end up complicating things more thus causing the distraught guy to juggle additional burdens on top of his turmoil that still persists in losing Liza.

As exhilarating and piercing as this film is, Love Liza does have its slight shortcomings. For instance, Louiso’s direction is solid and penetrating but at times one is left wondering whether or not he meant for his explosive exposition to be a caustic study in the grieving stage or that of a showcase in ample levity? And criticisms will be made about the depressing and confusing themes that may manipulate this searing vehicle. Regardless of Louiso’s questionable intentions, Love Liza has the befuddling edginess that transcends this daunting ditty to a cynically wry level. Much like its cinematic counterpart About Schmidt, Louiso’s bold project is certainly worthy of Oscar recognition. Sadly, its dismal disposition may not enlighten audiences as much as the mainstream appeal of Jack Nicholson and company in the heralded Schmidt.

It’s not easy to embrace a film that tampers with sensitive and tricky subject matters such as suicide, alienation and mental deficiencies. There’s a fine line in tip-toeing around the haunting hilarity surrounding such topical baggage but Louiso does it with gamely precision. Hoffman and Bates are astounding as they give thoughtfully robust and challenging performances. As wounded souls stuck on desperation’s doorstep in the wake of a mutual loved one’s inexplicable passing, they’re spellbinding and remarkably uninhibited. Hoffman continues to demonstrate why he’s one of the most fascinating and sought-out adventurous actors working in films today. And Bates, a previous Oscar-winner for the 1990 macabre thriller Misery, shows why she’s an accomplished actress based on her fabulous turns in both Love Liza and About Schmidt. Clearly, she’s worthy of Academy Award consideration given her saucy roles in these two finely acted, revealing films.

In a nutshell, both Louiso and Gordy Hoffman manufacture a shapely off-kilter presentation of bleak and powerful overtones that’s wickedly irreverent in this giddy dour fable. Love Liza, in theory, is an engaging and fearless session of unsavory realities to die for.