"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.
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.