(SPECIAL NOTE: Capsule version of the review is available here.)
In today's world of cinema, where most film-makers appear to be constrained by formula and guided by commercial considerations, it is difficult to imagine a movie that could be called "brave". It is even more difficult to imagine that such bravery could be awarded by audiences and critics. One of the few film-makers that recently entered film history by taking considerable risks is Italian comedian Roberto Benigni. In 1998 he created a lot of controversy with his period comedy Life Is Beautiful a.k.a. La vita è bella only to have this film awarded with "Palme d'Or" and "Oscars".
The plot of the film starts in late 1930s Italy. Guido Orefice (played by Roberto Benigni) comes to town of Arezzo dreaming about opening his own bookshop. While supporting himself as a waiter, he falls madly in love with Dora (played by Nicoletta Braschi), schoolteacher engaged to local Fascist official. That doesn't represent much of problem for Guido, because of his great charm and wit. Years later Guido and Dora are happily married couple and have an adorable five year-old son Giosue (played by Giovanni Cantarini). Their happiness is overshadowed by German occupation of Italy. Because of their Jewish blood, Guido and his son are rounded up by Fascists and put to train that would bring them to concentration camp. Despite being non Jewish, Dora also embarks on the train in order to stay as close to her family as possible. Once in the camp, Guido must use all of his wit to save not only his son's life but also his soul. He convinces him that everything around him is part of big game where the winner gets real tank.
Roberto Benigni had to be very brave in order to make this film. Grim subject of Holocaust seemed utterly unsuitable for the comedic treatment, especially with Roberto Benigni as its main actor, director and co-writer. Benigni had made his name with the series of immensely popular comedies based on old-fashioned slapstick. Idea of comedy dealing with one of the darkest chapters of history was heresy. Even before seeing the film many attacked it for trivialising the true horror of Holocaust and showing insensitivity towards victims and survivors. Others worried that the film's light-hearted approach towards Holocaust could be at the expense of historic authenticity.
Benigni, whose family members had misfortune of experiencing horrors of Nazi Germany, was actually quite aware of his responsibility and ways in which his film could be criticised. He very effectively divided film into two parts - the first is "standard" romantic comedy which allows his character to remain clownish; the second part, which takes part in the camp, is more serious. Benigni makes perfect transition between those two parts simply by having his character consistent - in the first part Guido uses wit and sense of humour to win the woman he loves; in the second part Guido uses the same wit and sense of humour to achieve more difficult and serious task; he is clown and the true hero at the same time. Benigni also gives brief glimpses of mass murder and other brutal Holocaust realities - mercifully brief, but enough to remind the audience what is really at stake.
The acting in the film is very good. Nicoleta Braschi, Benigni's real life wife, is very effective in the role of Dora, especially when their off-screen relationship reflects in the chemistry between the characters. Because of the obvious devotion to his wife, Benigni could be forgiven for letting her look much better than the women like her would have looked in real life concentration camp. On the other hand, Giustino Dorano is also very good in the role of Guido's phlegmatic uncle, while Horst Bucholz, veteran German actor, also makes good impression in one of his last great roles. Bucholz's character, who, unlike Guido, goes through transformation between two parts of the film, is another grim reminder of what could war do to human beings. Contrasts between two parts of film are also provided by very good production design by Danilo Donati which confronts idyllic Italian setting with grimness of concentration camps. Music by Niccola Piovani, on the other hand, binds those two films together helping the audience to preserve their faith in goodness and humanity.
Life Is Beautiful isn't perfect film, but its balance between pathos and silliness is. As such, it represents entertaining, moving, thought- provoking and heart-warming experience.
RATING: 8/10 (+++)
(Note: The text in its original form was posted in Usenet newsgroup rec.arts.films.reviews on May 26th 2004)
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