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Editorial Reviews
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Italy's rubber-faced funnyman Roberto Benigni accomplishes the impossible in his World War II comedy Life Is Beautiful: he shapes a simultaneously hilarious and haunting comedy out of the tragedy of the Holocaust. An international sensation and the most successful foreign language film in U.S. history, the picture also earned director-cowriter-star Benigni Oscars for Best Foreign Language Film and Best Actor. He plays the Jewish country boy Guido, a madcap romantic in Mussolini's Italy who wins the heart of his sweetheart (Benigni's real-life sweetie, Nicoletta Braschi) and raises a darling son (the adorable Giorgio Cantarini) in the shadow of fascism. When the Nazis ship the men off to a concentration camp in the waning days of the war, Guido is determined to shelter his son from the evils around them and convinces him they're in an elaborate contest to win (of all things) a tank. Guido tirelessly maintains the ruse with comic ingenuity, even as the horrors escalate and the camp's population continues to dwindle--all the more impetus to keep his son safe, secure, and, most of all, hidden. Benigni walks a fine line mining comedy from tragedy and his efforts are pure fantasy--he accomplishes feats no man could realistically pull off--both of which have drawn fire from a few critics. Yet for all its wacky humor and inventive gags, Life Is Beautiful is a moving and poignant tale of one father's sacrifice to save not just his young son's life but his innocence in the face of one of the most evil acts ever perpetrated by the human race. --Sean Axmaker
From The New Yorker
Would that it were. The great, donkey-faced Italian clown Roberto Benigni attempts an ambitious fable of comedy's redemptive power. He plays an Italian Jew who keeps alive his little boy's innocence in a Nazi concentration camp by pretending that the routines of the camp are no more than an intricate game staged for his son's benefit. After all, Benigni appears to be saying, the Germans were indulging a fantasy, too-the fantasy of total control. But Benigni's ironic counter-reality undermines this movie, not the Nazis, who were beyond ridicule for the same reason that they were beyond rationality. Totalitarianism makes the fantastic literal-that is its demonic appeal. Benigni's jokes and games just aren't enough, and you leave the movie thinking that what's touching is not Benigni's ministrations to the little boy but his own need to believe in comedy as salvation. With Nicoletta Braschi as the hero's wife, and Giorgio Cantarini, who has the heartbreaking quality of the children in the old neorealist movies, as the boy. Set design by Danilo Donati. Cinematography by Tonino Delli Colli. In Italian. -David Denby
Copyright © 2006 The New Yorker
Italy's rubber-faced funnyman Roberto Benigni accomplishes the impossible in his World War II comedy Life Is Beautiful: he shapes a simultaneously hilarious and haunting comedy out of the tragedy of the Holocaust. An international sensation and the most successful foreign language film in U.S. history, the picture also earned director-cowriter-star Benigni Oscars for Best Foreign Language Film and Best Actor. He plays the Jewish country boy Guido, a madcap romantic in Mussolini's Italy who wins the heart of his sweetheart (Benigni's real-life sweetie, Nicoletta Braschi) and raises a darling son (the adorable Giorgio Cantarini) in the shadow of fascism. When the Nazis ship the men off to a concentration camp in the waning days of the war, Guido is determined to shelter his son from the evils around them and convinces him they're in an elaborate contest to win (of all things) a tank. Guido tirelessly maintains the ruse with comic ingenuity, even as the horrors escalate and the camp's population continues to dwindle--all the more impetus to keep his son safe, secure, and, most of all, hidden. Benigni walks a fine line mining comedy from tragedy and his efforts are pure fantasy--he accomplishes feats no man could realistically pull off--both of which have drawn fire from a few critics. Yet for all its wacky humor and inventive gags, Life Is Beautiful is a moving and poignant tale of one father's sacrifice to save not just his young son's life but his innocence in the face of one of the most evil acts ever perpetrated by the human race. --Sean Axmaker
From The New Yorker
Would that it were. The great, donkey-faced Italian clown Roberto Benigni attempts an ambitious fable of comedy's redemptive power. He plays an Italian Jew who keeps alive his little boy's innocence in a Nazi concentration camp by pretending that the routines of the camp are no more than an intricate game staged for his son's benefit. After all, Benigni appears to be saying, the Germans were indulging a fantasy, too-the fantasy of total control. But Benigni's ironic counter-reality undermines this movie, not the Nazis, who were beyond ridicule for the same reason that they were beyond rationality. Totalitarianism makes the fantastic literal-that is its demonic appeal. Benigni's jokes and games just aren't enough, and you leave the movie thinking that what's touching is not Benigni's ministrations to the little boy but his own need to believe in comedy as salvation. With Nicoletta Braschi as the hero's wife, and Giorgio Cantarini, who has the heartbreaking quality of the children in the old neorealist movies, as the boy. Set design by Danilo Donati. Cinematography by Tonino Delli Colli. In Italian. -David Denby
Copyright © 2006 The New Yorker
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