Film: Life Is Beautiful
Release date: 22nd January 2001
Certificate: PG
Running time: 122 mins
Director: Roberto Benigni
Starring: Roberto Benigni, Nicoletta Braschi, Giorgio Cantarini, Giustino Durano, Sergio Bini Bustric
Genre: Comedy/Drama/Romance/War
Studio: Miramax
Format: DVD
Country: Italy
Life Is Beautiful was a surprise hit when it scooped awards galore at both Cannes and the 1999 Oscars. In a film industry that is awash with various visions and tributes to World War II, Roberto Benigni’s film chose to incorporate something very new into the genre, comedy. Set in an Italy under the influence of Mussolini and Mr. Hitler, how did Benigni’s take on the holocaust become such a widely recognised addition to films such as Saving Private Ryan and Schindler’s List.
Guido, a young Jewish man, moves to Arezzo in Italy with hopes of starting a new life, and one day owning his own book shop. In the years leading up to World War II, he struggles to fund his business plans, and so takes a job working with his uncle as a waiter in an esteemed city hotel. Guido meets a young school teacher, Dora, and is determined to win her heart. He goes out of his way to set up seemingly chance meetings with her going to the ballet, crossing paths on the street, and even posing as a governor at her school.
Dora is charmed by Guido, but reluctant to get involved with him. She is a non-Jew with a wealthy upbringing and, whilst working at the engagement party, Guido discovers she is engaged to marry a well-to-do Italian aristocrat. Guido finally wins her over, and despite the disapproval of her parents, Dora leaves her fiancée to be with Guido.
Years later, the couple are living happily together; Guido has his bookstore and a young son called Giosue. At this time, the war has already begun, and Italy is sliding closer towards Nazi law. Guido’s status as a Jewish Italian is becoming more and more vulnerable, and before long, he and his son are taken away to a concentration camp. Determined to protect Giosue’s innocence, Guido begins the facade to his son that everything going on around him is a game...
The enjoyment of this film lies heavily in the way audiences respond to leading man Roberto Benigni, the man who not only starred here but directed and co-wrote the film. This was no small feat, and with the weight of his involvement in the project came a mass of recognition and critical praise, most notably he beat Tom Hank’s to the 1999 Best Actor Oscar to the surprise of many. This surprise came not only as Life Is Beautiful was a little seen foreign film in America, but because, as a depiction of World War II, Hank’s Saving Private Ryan appeared a much more accomplished and historically relevant piece of filmmaking.
It is not unlike The Academy Awards to get it wrong (perhaps the Cannes success was even more of a shock), and it seems that what they missed in the cut throat realism of Hank’s performance was distracted by the charm and sentiment of Benigni’s. As a character, it is easy to see how so many fell for Guido, a man who is part cheeky chappy, part romantic, and part devoted father - even his final act is one of comedy in the face of fear. Certainly in the first half of the film, his almost Chaplin-esque antics are cleverly worked with the upmost charm, and even the most implausible of scenes (he rides on horseback into a dining hall) comes into the spirit of things.
It is in the second part of the film that Guido’s behaviour becomes more tiresome and evidently inappropriate to the subject matter. Benigni’s vision and ambition for this most unlikely of Holocaust films is clear and indeed commendable; he attempts to show that, even in the face of evil, the human spirit, love and a sense of humour can overcome all. This sentiment is an intriguing one but ultimately an unrealistic one, and as the horrors of the concentration camp are hinted at, you can’t help but feel Benigi should stop being the centre of attention.
His performance makes sure he steals every scene, and beyond all his endearingly lively charisma, we soon long for him to tone it down. This might not be felt so strongly were it not for the fact that to truly conceive the horror and proportion of these events, they should be shown with realism that truly reflects how unbelievable they were. With the arrival of the tank at the end, all the uplifting triumph of the story is unfortunately transformed in to the type of schmaltz that the Oscar’s go for time and time again.
In light of this film’s accolades, it should be considered a monumental success, but the knowledge that it swept awards with critical aplomb makes viewing it for the first time a complete surprise – it seems the Academy were more interested in recognising an underdog than awarding on merit. However, it is a sweet idea, and for many, Benigni will provide enough extravagance to make you smile throughout. LW
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