Lost at the Pershing Point Hotel (2000)

Remember that little, funny, squirrely guy that used to play a mailman on either "Hearts Afire" or some other early 90's sitcom. He was cute and funny and obviously gay and a complete revelation at the time. This is his film. He wrote it, based on his play, and he stars in it as well. His name is Leslie Jordan.

"Lost in the Pershing Point Hotel" is, in itself, a revelation. Jordan proves himself an interesting gay dramatist. His script is infused with several obvious gay influences. There's Warhol, or at least Warhol superstar Edie Sedgwick, John Waters, Tennessee Williams, Truman Capote, Armistad Maupin and more. Jordan's tale begins with a setup that allows his protagonist to flashback through his life. He covers all too briefly an upbringing that represses his sexuality with the severity of 50's southern Baptist mentality. During these segments, Luke Eberl is fearless in his monumental portrayal of a confused and lost young gay man.

Soon, Jordan is playing a character in his 20's and we watch him travel through the 70's and 80's as a drug drenched queen who goes from downers and pot to cocaine and then heroin, much as America itself has. Jordan may seem a nontraditional protagonist in this story but perhaps that's what makes the film so engaging. It's impossible not to like the guy and we are never doubtful when a wide variety of people attach themselves to him as well. Erin Chadler soon join the fray as Miss Make Do, a fag hag who introduces Jordan deeper into the drug culture. Here is where it becomes possible to misjudge the film. For quite a while it seems like a flitty, goofy, sweet reminiscences on early drug culture with Dr. Feelgood and tripped out trendies simply having fun.

But the film changes and becomes more serious in it's middle section. Evolving from the "evil of cocaine" segment into an almost Gus Van Santian story of lvoe among junkies, the film begins a deep and turgid dive into the depths of narcotic hell. Here Mark Pelligrino emerges as a love interest and odd protector for Jordan's protagonist. The film suddenly becomes meaningful, deep, romantic, strange and troubling. It becomes a brilliant film. The relationship forged by these two characters is so deep, so honest and so real, that even trapped within the confines of an obvious play-on-film, the intense moments of emotion pop out here like hypodermic needles. It's a wonderful evolution of a story and a film.

That's not to say that the film doesn't have problems. It looks a bit low-budget and tacky thanks to director Julia Jay Pierpoint III and Production designer Cecil Gentry. At times, they can make the film's frilly qualities work but usually it just looks like a cheap set. The more foul and repugnant scenes in the "heroin" section of the film work a little better here but also suffer at times from this. Likewise, the music chosen is often too obvious and cheesy. Playing Neil Young's "Needle and the Damage Done" at a pivotal moment in the "heroin" segment is just too much. It distracts rather than accentuates.

Still, in the final analysis, "Lost in the Pershing Point Hotel" is another milestone in gay cinema. The script by Jordan looks for deeper meaning and spirituality in a world seemingly incomprehensible. The protagonist, towards the end of the film, utters a beautiful line. He says, "I don't believe we are human beings looking for a spiritual experience, I believe we are spiritual beings looking for a human experience. This film an experience of both kinds. Amen.

Note:

With small roles amounting to cameos by John Ritter, Marilu Henner, Kathey Kinney, Michelle Phillips, Sheryl Lee Ralph, Adam Wylie, Peter Mowhawk, Arthur Hiller, and Kris Kamm.

Report Card

Script: B+

Acting: B+

Cinematography\Lighting: C-

Special Effects\Make Up: C

Music: C-

Final Grade: B