Love and Death on Long Island

What a wonderful piece of acting John Hurt gives us as Giles a naive English writer visiting Long Isalnd for the first time. Completely obsessed with the discovery of all the modern electronic gadgetry, he purchases TV and video equipment, shuts himself away and enters a new and exciting world.

He becomes besotted with the image of a handsome young actor Ronnie Bostock (Jason Priestley) a favourite among teen-age movie-goers. It's as if he is starting a completely new life with a new warmth he has never known before.

The urge to help Ronnie in his career so that he will always be close to him is the predominant theme of the film. John Hurt's performance as the older man restraining his true feelings for a handsome young man of another generation is faultless and truly absorbing. Conversations between the two men are the highlights of the film and the confession scene extremely moving.

Ronnie Bostock's girl friend Audrey ( Fiona Loewi) is both charming and beautiful and adds a sweet touch to the story. She is responsible for bringing the writer and actor together. The story is punctuated with little episodes of wry humour brought about by people who live entirely different lives.

Altogether a very satisfying film that shows how some of us live in a cocoon unaware of the extreme joy and subsequent disappointment that lies beyond.

After viewing this film I wished it was 20 years ago, back when you were allowed to just stay in your chair and see the show a second time.

John Hurt is astounding as an English author who discovers beauty the last place he'd expect to find it - in an American "B" movie actor's performances. Hurt's character, Dr. De'Ath, is a true original, totally out of step with the 20th century. He simply had no need nor interest in modernizing his ways. He stumbles upon the work of Ronnie Bostock (Jason Priestley, in a heckuva good, self-effacing performance) and sees in him talent and passion. That's about all I can say without going too far into plot - but if I were able to physically compel people to see it, I certainly would. It's a lovely piece of work.

Love and Death On Long Island follows Giles (John Hurt) a semi recluse English novelist who wonders through his life with very little intense purpose or any sense of being 'alive'. That all changes when one day when he gets locked out of his house. Eventually he ends up wandering to the local cinema and mistakenly walks into Hotpants College II. "What rubbish". He's just about to leave when Ronnie Bostock (Jason Priestly) appears on screen. He's mesmerized.

When he leaves the theater he's a different man. It's not long before Giles thinks and does nothing that doesn't revolve around Ronnie Bostock. He buys teeny bopper magazines featuring anything involving Ronnie. Makes a Ronnie Bostock scrapbook from hand including the pictures from the magazines and eventually he makes sure to view all of Ronnie's other movie exploits. He's a man consumed by one thought, one action. Obsession has taken over. Things get deeper as you can imagine when Giles sets out and actually meets Ronnie and befriends him.

John Hurt turns in another great performance in a long list of great performances and it's nice to see Jason Priestly doing something of worth. The supporting players are apt too. Sheila Hancock as Giles housekeeper kept reminding me of the God and Monsters Lynn Redgrave as James Whale's housekeeper. Fiona Loewi as Ronnie's girlfriend is a mite refreshing. She's not stupid or naive. We can see at one point she's figured out what is going on and what the "real" story is.

Filmed in my hometown of Halifax, Nova Scotia there's many recognizable places that were fun to see appear. 'Love and Death on Long Island' is a good watch on a rainy day.

"A puerile romp without a single redeeming feature."

That's what an imaginary Sight and Sound review gives the trashy teenage exploitation film Hotpants College 2. However, for "erstwhile fogey" and famous English writer Giles De'Ath (John Hurt) this Porky-esque flick, which he watches purely by accident (he meant to see an E.M Forster adaptation) has one very redeeming grace. It contains the love of Giles' life – Ronnie Bostock (Jason Priestley).

This witty and poignant film, which divides itself between London and Long Island, may have faltered badly if it had been left in lesser hands than John Hurt. However, Hurt is simply mesmerising. He is one of the few actors who never shies away from making the audience utterly ill at ease – watch 1984, the monster shooting out of his stomach in Alien or The Elephant Man for confirmation.

Self-exiled from the modern world in his stuffy flat, with a picture of his recently deceased wife by his writing desk, and a fussy maid (Sheila Hancock) tending to his every whim, Giles' emotions are thoroughly repressed. Until, that is, fate lends a hand and exposes Giles to, amongst other things, terrible American teenage movies, video stores, fax machines, One Man and His Dog, and, finally, to his own sexual desires.

Love and Death in Long Island is brimming with quirky cameos, including weirdo diner owner Irv (Maury Chaykin), a motel manager (Elizabeth Quinn) reminiscent of Shelley Winters in Lolita, and a surprisingly good Priestley (lampooning his "bimbo" soap background much like Maxwell Caulfield in The Real Blonde).

However, it is ultimately a "warts and all" performance from Hurt that holds our gaze. Dignified, perplexed and slightly tragic, Hurt makes Giles one of the most touching "stalkers" in film history. Much like James Mason's Humbert in Lolita, Giles is a man of culture finding beauty in youth, in coarseness - in "all that I myself have never been."

Ultimately, a slow, witty work with one outstanding feature.

Locked out of his apartment, old-fashioned writer Giles De'Ath (John Hurt) almost reluctantly decides to take in a movie. Accidentally wandering in to see Hot Pants College II instead of the E.M. Forster adaptation for which he bought a ticket, the lonely man becomes transfixed by the sight of a hunky actor (Jason Priestley) and begins an obsession that makes for a thoroughly satisfying and entertaining story. First-time director Kwietniowski expertly observes the wildly disparate natures of these two men while keeping both of them entirely credible and believable. I particularly enjoyed Giles' compilation of Ronnie Bostock clippings from teeny-bopper magazines, carefully arranged and titled "Bostockiana" before being securely locked away in a desk drawer.