Cafe Romeo Reviews

Infused with authentic Italian-Americanisms rather than the usual cliches, this is a gentle post-coming-of-age story; everyone in it has already botched a first fling with love or suffered from a hasty career decision. Although a bit placid and predictable, this Canadian made-for-TV movie is a welcome relief after so many movies in which the participants behave like hand-waving refugees from La Scala. Studying at a dental college, and investing money under the tutelage of go-getter Tierno (John Cassini), starry-eyed Bennie (Jonathan Crombie) wonders whether life has more to offer than safe career choices and smart investments. He pines for his long-time crush Lia (Catherine Mary Stewart) who regrettably married the wrong man, Bennie's cousin Piero (Michael Tiernan). Handcuffed by her husband's sexism, Lia is prevented from accepting a dream apprenticeship as a dress designer in New York City. Forced by his father into the local Mafia, Piero is consumed with self-doubt when he realizes he has no taste for violence. When Bennie's uncle Nino (Joseph Campanella) dies and bequeaths his home and restaurant to his restless nephew, Bennie gravely disappoints his mother by moving out, pouring all his energy into making the bistro a popular neighborhood haunt and transforming Nino's house into a safe haven for Lia, who's left Piero, and Vera (Denalda Williams), who's dumped Bennie's womanizing brother Nick (Rae Scrivano). Buoyed up by this new extended family, Bennie and Lia are both able to follow their dreams and make space in their lives for each other. Although Piero is shipped off to the old country, Bennie has surmounted any conventions his parents placed in his path. What shines through CAFE ROMEO is the film's genuine affection for its characters. What's most refreshing about Frank Procopio's screenplay is that not everyone achieves a happy ending. Although it never rises to any extraordinary dramatic heights, CAFE ROMEO does its modest job well and studies a coterie caught at the crossroads--friends since childhood, these small- towners must all go their separate ways. In structural terms, none of the overlapping subplots ever seem extraneous; they dovetail satisfyingly with the central romance. With a good ear for the way people speak, Procopio also zeros in on the little antagonisms experienced even by people who care about each other. Since MOONSTRUCK first struck a popular chord, moviegoers have been plagued by loud-mouth imitators. Do we need to see more colorful eccentrics elbow each other off the screen while they scream out their ethnicity? Audiences would do well to soak up the more relaxed, humane atmsophere of CAFE ROMEO where not every character is larger than life. Speaking in a whisper rather than shouting out its dramatic concerns in a thick accent, CAFE ROMEO spins its yarns with dignity and transparent honesty. Making its audience feel warm all over, it delves into the lives of ordinary people without patronizing them. (Violence, profanity.)