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In the camp, Guido constructs an elaborate fiction to comfort and protect his son. It is all an elaborate game, he explains. The first one to get 1,000 points will win a tank not a toy tank but a real one, which Joshua can drive all over town. Guido acts as the translator for a German who is barking orders at the inmates, freely translating them into Italian designed to quiet his son's fears. And he literally hides the child from the camp guards, with rules of the game that have the boy crouching on a high sleeping platform and remaining absolutely still.He arrives in town in a runaway car with failed brakes and is mistaken for a visiting dignitary. He falls in love instantly with the beautiful Dora (Nicoletta Braschi, Benigni's real-life wife). He becomes the undeclared rival of her fiance, the Fascist town clerk. He makes friends with the German doctor (Horst Buchholz) who is a regular guest at the hotel and shares his love of riddles. And by the fantastic manipulation of carefully planned coincidences, he makes it appear that he is fated to replace the dour Fascist in Dora's life.At this year's Toronto Film Festival, Benigni told me that the movie has stirred up venomous opposition from the right wing in Italy. At Cannes, it offended some left-wing critics with its use of humor in connection with the Holocaust. What may be most offensive to both wings is its sidestepping of politics in favor of simple human ingenuity. The film finds the right notes to negotiate its delicate subject matter. And Benigni isn't really making comedy out of the Holocaust, anyway. He is showing how Guido uses the only gift at his command to protect his son. If he had a gun, he would shoot at the Fascists. If he had an army, he would destroy them. He is a clown, and comedy is his weapon.
His speech galvanized the audience to such an extent that when Tom Stoppard picked up his award for co-writing Shakespeare, the Brit got a major laugh when he deadpanned, I'm behaving like Roberto Benigni underneath."The Italian actor-director, then 46, made his way to the podium by walking partway across the tops of the Dorothy Chandler Pavilion's seats and said, "This is the moment of joy, and I want to kiss everybody because you are the major of the joy, and he who kisses the joy as it flies lives in eternity's sunrise, say the poet."It's over before it's begun. When, to break the ice, I ask him if he's surprised by the success of the film, his hand falls on my knee, his bulbous eyes fix on mine, the smile that lurks just behind his lips breaks out, and he's away: "We're always surprised by manifestations of love. This is my biggest manifestation of love by people, they hug me in their arms and tell me, 'Thank you, grazie Benigni,' crying, laughing.Italian women recently voted him the man they'd most like to go travelling with ("I was about 10 points over DiCaprio," he boasts); the woman he does travel with, his wife and co-star Braschi, marvels at his popularity. "He does this thing on-stage for 20,000 people each night, a one-man show for more than two hours. They all laugh to die, it's strange to see. It's a wonderful amazement to see all these people laughing, so many for so long." Benigni has a gift, undoubtedly: he's an instantly loveable physical comic in the tradition of his heroes, Keaton and Chaplin, rather than the "humourists", as he describes them, who dominate modern cinema. At a recent on-stage interview at the National Film Theatre, the audience were in stitches before Benigni even opened his mouth.
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