The biggest practical question posed by the story is how a well-meaning psychotherapist, while coping with such a devastating personal loss, can effectively empathize with his patients. And the movie's rejection of even a tinge of melodrama lends it a special integrity. There are no dark secrets to be uncovered. Where a less delicate film might have pursued the possibilities of suicide or foul play, ''The Son's Room'' doesn't grovel for an easy explanation. But despite these minor blemishes, Andrea seems basically happy and well adjusted.
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While watching Andrea deliberately lose a tennis game, Giovanni also worries that his son lacks a healthy competitive drive. Muted and pastel-shaded in tone, it gently urges people to bear up (like its characters), as it follows the rituals of interment and mourning and the tentative signs of emotional recovery. ''The Son's Room'' remains deeply respectful of its characters and their loss while refusing to milk the tragedy for tear-jerking sentiment. As most of us know too well, tragedy has a way of striking out of nowhere, leaving the survivors stunned, grief-stricken, angry and desperately groping for answers and for some stability. Nanni Moretti's small, touching film ''The Son's Room'' is a portrait of a closely knit Italian family whose contented middle-class existence is shattered with the death of the teenage son, Andrea (Giuseppe Sanfelice), in a scuba-diving accident. The film, in Italian with English subtitles, opens today in Manhattan. Following are excerpts from Stephen Holden's review, which appeared in The New York Times on Oct.
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''The Son's Room'' was shown as part of last year's New York Film Festival.