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09/13/02

1 hr. 55 mins.
Starring: Stefano Accorsi, Giovanna Mezzogiorno, Martina Stella, Stephania Sandrelli
Directed by: Gabriele Muccio

Frank's film tip: Pucker up for the resilient Italian romantic comedy "The Last Kiss", a shocking charmer about infidelity and the refusal to assume responsibility

Occasionally for some reluctant guys, the romantic notion of marital bliss (or any other form of relationship for that matter) is a novel and exciting concept until the harsh realities set in. Marriage all of the sudden seems so final and restrictive—like it’s some kind of emotional prison sentence that throws away the key to one unlucky sap’s valued freedom. Well, writer-director Gabriele Muccio does an impeccable job of tapping into the probing ambivalence and anxiety-ridden journey of one free-wheeling cad’s commitment to his pregnant possessive girlfriend in the irresistibly frothy and observant Italian comedy “The Last Kiss”. Muccio takes an intriguing look at the jittery dynamics of her early thirty-something male protagonists and their unwillingness to accept some major responsibilities for growing up and moving on beyond their “playful” period. “The Last Kiss” has a comedic wryness in its cynicism that’s clearly infectious regarding the temptation of not being faithful and focused thanks to an element of something that’s as unpredictably scary as facing the fear factor of an eternal bond.

The hunky hero in the middle of this seriocomic dilemma is Carlo (Stefano Accorsi). He’s about to become a father for the first time thanks to his expectant girlfriend Giulia (Giovanna Mezzogiorna). During their three-year courtship together, everything seemed so flexible and manageable. Carlo could come and go as he pleased yet return to Giulia and get all the unbridled passion he needed with no questions asked. But now the lust-driven lothario must pay the price for his dandy dalliances with Giulia. There are certain conditions that Carlo has to face with no questions asked according to the gospel of Giulia: a.) he WILL be supportive concerning the arrival of the couple’s bouncing bundle of joy and b.) he WILL fully get out of his system any cute ideas about wandering off and playing footsies with other overheated gals otherwise Giulia will seriously poke out his straying eyes in threatening convincing fashion. In many ways, one cannot blame Giulia’s insistence on lassoing Carlo as she would a roaming herd of cattle. After all, she’s in this very same fix as well and probably has her doubts about the unknown future and what's at stake. In short, Giulia does not mess around and she made a solemn promise to Carlo that if he cheats on her, she’ll definitely put an end to his swaying sorry self! Consequently, he'll pay the terrible price! (Note to Carlo: hath no fury like a woman scorned—please heed this warning, Papa-to-be prettyboy!)

Of course it goes without saying that Carlo has deep-seeded reservations about his mounting predicament. The overwhelming possibilities are endless in that this guy not only has a time bomb waiting to explode in the form of his pretty pregnant galpal, but what is he going to do once the child arrives? This daunting thought presents a lot of uncertainties that’s ringing in Carlo’s confused head. Will the baby compete with his affections for first-time proud mother Giulia? Will Carlo get any more intimacy with Giulia like the “good ol’ days” before the conception of the baby? Will the baby be a financial burden? Will the kid be more pampered than Carlo while craving more attention from Giulia? And what about the inconvenience of the baby’s needs that is so vital and crucial in its young life? Meanwhile, Carlo’s pals are not much help by reinforcing his insecurities by pushing the panic buttons of terrorizing forethought. Between Giulia’s demand for a “no infidelity clause” in their relationship and the tensions of caring for a newborn that will ultimately change his perspective on what could have been a carefree life, Carlo feels trapped and isolated in his foggy state of mind.

As if there wasn’t enough to challenge the Italian stallion fragile fratboy already, Carlo meets up with a teasing teen tart named Francesca (Martine Stella) at a wedding reception. Francesca is a skilled vixen who excels in capturing the interests of tied-down men in existing relationships. To Carlo, Francesca is one example of forbidden fruit to taste if not to conveniently blame on his disoriented state of impending pressure he has built up for Giulia and the baby. And so the initial seductive affair is carried off without a hitch, complete with sneaky rules to a deadly game. Soon, the daring consequences to Carlo’s gutsy yet misguided actions will ultimately take its toll in a shocking, stirring climax.

“The Last Kiss” is a polished and sardonic movie that mixes the indecision of one man’s complex world and turns it into a topsy-turvy commentary of perceptive intangibles dealing with the clogged affairs of the heart. Muccio helms this compassionate spry fable with profound confidence and imaginative pathos. The audience, in some instances anyway, will most likely understand the uncertainty of Carlo’s unnecessary gamble at throwing away what could have been a cherished livelihood that most people would kill for. But Muccio argues that under such duress, many young men will question their need to assume stability whether they’re ready for it or not. The filmmaker thankfully never excuses her leading man for his ill-advised choices but somehow makes us comprehend the entrapment that he feels with the deepest of frightening fortitude.

Overall, the colorful players in this sensual and cheeky morality session on fidelity and the call to come to gripes with life’s tricky path are deliciously flawed and pulsating. The believability of their entanglements are compelling and bursting with enthusiastic irreverence. One should definitely unseal their lips because “The Last Kiss” will leave an indelible mark on your astonished glorious face.

Frank rates this film: stars