Plot: What’s it about?
Wilson Joel (Philip Seymour Hoffman) is a web designer, but of late, work has been the last thing on his mind. His wife just Liza took her own life, which has sent Wilson into a spiral of intense depression. The pain inside is too much for Wilson, as it attacks his mind, heart, and physical presence. He is unable to focus for extended periods of time, as his wife’s death haunts his every step and every minute. He returns to work soon after, but his coworkers can tell he is shattered, as his behavior is wildly unpredictable. One minute he is unable to deal with the normal tasks of his position, then the next he can’t stop laughing, which causes some awkward moments, to say the very least. He is offered comfort and support from his mother in law Mary Ann (Kathy Bates), his boss Tom Bailey (Stephen Tobolowsky), and a coworker who is drawn to him, but none provide solace that sticks. So he turns to gasoline, the substance which powered his wife’s engine as she died, to bring him some relief. He huffs gas whenever he can, just to get those few moments of peace the high provides. He covers up the gas smell by saying he is into remote control planes, which sparks a relationship with Denny (Jack Kehler). The bond between them soon grows, but even then, Wilson is haunted by his wife’s death. All the while, her suicide note remains sealed, as he is unable to face the threat of additional pain…
I never saw much press for this movie, which is a real shame, as Love Liza deserves to be seen by a wider audience. I think it will find that audience now, as word of mouth is bound to spread and draw more attention to the picture. The dark, tragic material might scare some folks off, but this is a movie about real life and as we all know, life can be miserable at times. But unlike a lot of movies out there, Love Liza doesn’t manipulate the audience’s emotions, it simply presents one man’s situation and how it unfolds. Yes, that means we have stretches of immense pain and depression, but we also have lighter moments, though even those are often tinged with sadness. This is one of those movies that takes you on an emotional roller coaster of sorts, but it seems natural and well crafted, never false or hollow. This ensures the full impact remains intact, though this movie is more about the journey, as opposed to the destination. As in real life, closure is not promised, nor is any other kind of true resolution. Love Liza is a realistic, often brutal exploration of grief, the ends it can push us to and the ways we can overcome. The ride is a rough one, but it is well worth taking, as all the elements fall into place here. If nothing else, this movie merits attention for Philip Seymour Hoffman, who turns in an impeccable performance. I cannot recommend this movie enough, as it is powerful and simply unforgettable in all respects.
This movie is anchored on the presence of Philip Seymour Hoffman, who turns in a stunning performance. In fact, this is the kind of effort that puts an actor on the map, though Hoffman has been well known for a while now. But he has been relegated to smaller, quirky roles in most pictures, but he grabs the lead in Love Liza. This is one of the few times Hoffman has held a main role, but you wouldn’t know it from his performance. He is electric here, going through a vast spectrum of emotion and doing it with ease. Hoffman steers the character through moments of depression, euphoria, and other extremes, but his turn never seems forced. Which is important, since we need to feel like the process is natural, which it does here. So he has to walk a fine line throughout the picture, since even a slight misstep could throw off the character’s presence. He has to be sure to never underplay the material, but at the same time, keep from going over the top. A crucial mixture of tragedy and comedy, Hoffman’s performance here is pure gold. Other films with Hoffman include Happiness, Boogie Nights, Red Dragon, Almost Famous, Twister, and Patch Adams. The cast also includes Jack Kehler (The Last Boy Scout, Big Trouble), Kathy Bates (Misery, About Schmidt), and Stephen Tobolowsky (Groundhog Day, Memento).
Video: How does it look?
Love Liza is presented in 1.85:1 anamorphic widescreen. The presentation here is passable, but I expected a little more in terms of visual refinements. What I mean is that while this treatment is good, it has some rough edges. I found contrast to be stark and accurate, while colors seemed bold and bright, but other elements here look a little off. The image isn’t as sharp as I would like, plus there seems to be a kind of digital haze in some scenes. I am unsure if this is due to the disc’s authoring or low budget roots of the film itself, but it can be a distraction. I tried the disc in several players, with the same visual quirk present in each situation. The haze is never extreme, but Columbia is known for their superb transfers, so I expected a little more. This is still a more than solid effort however, so don’t brace yourself for the worst.
Audio: How does it sound?
This movie has a minimalist approach in terms of audio, as the dialogue is the main attraction throughout. So the included 2.0 surround option is more than sufficient, with a solid and consistent presentation. A few scenes do provide some surround presence, but it is all natural in scope and serves to enhance the atmosphere. The boat race is one such scene, with the engines racing, but even then, the audio is subtle and natural. The wonderful musical score is well handled also, with smooth and immersive presence. I really enjoyed the music in this movie, so I am quite pleased it sounds so good here. As far as dialogue, all the vocals sound clean and clear, with no volume errors to mention. This disc also includes subtitles in English, Spanish, French, Portuguese, and Hindi, should you need those.
Supplements: What are the extras?
The main supplement here is an audio commentary track, which features director Todd Louiso, writer Gordy Hoffman, and star Philip Seymour Hoffman. This is a candid, relaxed session that yields a lot of terrific insights. The trio discuss the genesis of the project, the production itself, and give some final thoughts on the picture. A good amount of humor is found here also, as assorted production anecdotes are revealed. This disc also includes some talent files, as well as the film’s theatrical trailer.
