KISS ME, GUIDO
A Film Review by James Berardinelli
RATING (0 TO 10): 6.0 Alternative Scale: **1/2 out of ****
United States, 1997 U.S. Release Date: beginning 8/97 (limited) Running Length: 1:30 MPAA Classification: R (Sex, mature themes, brief nudity) Theatrical Aspect Ratio: 1.85:1
Cast: Nick Scotti, Anthony Barrile, Anthony DeSando, Craig Chestwater, Christopher Lawford, Molly Price Director: Tony Vitale Producers: Ira Deutchman and Christine Vachon Screenplay: Tony Vitale Cinematography: Claudia Raschke Music: Randall Poster U.S. Distributor: Paramount Pictures
Can a gay man and a "guido" (Italian American) live together in platonic harmony when both harbor prejudices against each other? That's the question posed by Tony Vitale's low-budget comedy, KISS ME, GUIDO. Unfortunately, the answer comes courtesy of a clunky script that reduces the characters to one-dimensional stereotypes and assumes that the audience will accept any contrivance, no matter how unlikely, as long as it moves the story along.
Take, for example, the reason that Italian stallion Frankie (Nick Scotti), a confirmed homophobe, and "100% Grade A queer" Warren (Anthony Barrile) end up in a situation where they're considering rooming together. It's because Frankie, a pizza maker with acting aspirations, comes home one day to find his brother in bed with his girlfriend, and decides that the time has come for him to move out. So he scours the newspaper want-ads. When he finds one with the designation "GWM", Frankie assumes it means "guy with money," not "gay white male." He only discovers his mistake once he's met Warren (Anthony Barrile), the out-of-work actor who needs the roommate. Since they're both stuck (Frankie doesn't have a place to live and Warren is five months behind in his rent), they decide to give it a try -- if only in the short term. And, of course, that leads to all sorts of complications.
One of the things that KISS ME, GUIDO does right is to develop a amicable friendship between Frankie and Warren without attempting to change their sexual proclivities. Frankie does not suddenly discover a wellspring of repressed homosexuality, and Warren is not enticed into trying Frankie's lifestyle. Both of them are comfortable with who they are, and first-time writer/director Vitale doesn't cheat us by forcing their relationship to cross into the sexual realm.
KISS ME, GUIDO deals in stereotypes, which is both good and bad. Good, because it has fun with some commonly held impressions of certain groups (gays, Italian Americans, and Jews). On the other hand, the characters are likable primarily because Vitale treats them with affection, but "likable" doesn't translate into "well-written" or "three-dimensional." Stereotypes rarely make for richly-textured personalities, and no one in the film shows significant development. When KISS ME, GUIDO opens, Frankie is a straight, would-be actor with relationship problems. On the other hand, Warren is a gay, would-be actor with relationship problems. Neither has changed by the time the end credits roll, except that they've learned a few lessons in tolerance.
The biggest problem with KISS ME, GUIDO is that the screenplay dumbs down its protagonists to sit-com level. These are not intelligent, believable human beings. They're devices for use in comic sketches that belong in an episode of THREE'S COMPANY (the kind where two people have a conversation in which each thinks the other is talking about something else). Sure, some of the gags are funny, but the price is that we never really accept Frankie or Warren as a real person, and we're always conscious that we're watching a movie.
Because of the limitations placed on their characters, it's difficult to assess the performances of the leads. Both Nick Scotti and Anthony Barrile are competent, but it would be interesting to see them in roles that require a little more range. The same is true of the supporting performers. Anthony DeSando is fine as Frankie's brother, the ultimate macho hunk, and Craig Chester amuses as Warren's cross- dressing, effeminate best friend, but can either of these two do anything more?
In the final analysis, KISS ME, GUIDO's greatest strength is that it addresses issues of homophobia and tolerance without ever becoming preachy or judgmental. Vitale's script prefers humor to pulpit- pounding, which makes the movie more entertaining for those who might otherwise feel uncomfortable seeing a film with gay themes. KISS ME, GUIDO is uneven, but, for those who can enjoy a motion picture with a multiplicity of flaws, this one offers some smiles and laughs during the course of its generally undemanding 90 minute running length.
Copyright 1997 James Berardinelli
- James Berardinelli e-mail: berardin@mail.cybernex.net
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