How often do we commit the mistake of putting things in an over simplified order, how often do we take things according to the prototype the society has set forth for us? The film L.I.E. begins with a premise somewhat similar to that, marking the territory of victim and perpetrator in a typical fashion, but as the film progressed it grew more and more evident that it will not take the usual route of typifying things in a convenient order and be another lot in the bunch.
L.I.E. is a film hard to characterize as belonging to a genre. It comprises elements of what is popularly referred to as dark comedy, teen movie, gay movie, film on pedophilia (actually there’s not enough film on this category to consider it to be a genre); but at the end this does not belong to any of them in particular.
L.I.E. is centered around the story of a sixteen year old boy Howie. His sexual ambivalence does not accept his own homosexuality and hence he does not make a move towards his California as he appears on the outset; rather he has a shady secret. He is actually prostitute himself in order to procure the money to get out of the small town. How Gary leaves, leaving Howie entangled in a mess with the pedophile Big John, how Big John’s role is gradually revealed from an apparent sexual predator to a benevolent father figure almost with a divine presence as the Boo Radley of To Kill the mocking bird.with whom he infatuated. Little does he know that his best friend is not the macho boisterous figure, ransacking people’s homes, planning to get out to
The film itself is not earth-shattering, nor is it an out of earth experience, but with its nuance and resolve not to fall in prototypes makes it worth watching.