Life is Beautiful
for Holocaust-related thematic elements.
Reviewed by: Artie Megibben
CONTRIBUTOR
| Moral Rating: | Better than Average |
| Moviemaking Quality: |
|
| Primary Audience: | Teens Adults |
| Genre: | Foreign Comedy Drama |
| Length: | 122 min. |
| Year of Release: | 1998 |
| USA Release: |
| Featuring | Roberto Benigni, Nicoletta Braschi, Giustino Durano, Sergio Bini Bustric, Marisa Paredes |
| Director |
Roberto Benigni |
| Producer | |
| Distributor |
One is reminded of the innocent charm of the early silent films of Chaplin and Buster Keaton when viewing “Life is Beautiful”, Roberto Begnini’s Cannes-winning new film.
The movie opens in the hills of Tuscanny at the beginning of the second World War. Our hapless hero played by actor/writer/director Begnini meets a beautiful young teacher whom he woos with the help of Santa Maria and a few coincidences. The couple marry and produce a child. Italian fascism gives way to Nazi Anti-Semitism and the couple find themselves deported to a German concentration camp on the day of their son’s birthday. Through a series of imaginative lies and more coincidences, the clever father protects his son by convincing him that it is all an elaborate game. Poignantly, the audience sees that no matter how bizarre the father’s white lies become, nothing is more far-fetched and unbelievable than the horrible truth of ovens and genocide.
The movie does an amazing job of marrying the slapstick antics we’ve seen in films Begnini’s earlier “Johnny Toothpick”, with the tragedy of the Holocaust. And like movies such as “Schindler’s List” and “The Hiding Place”, it reminds us that modern man is neither basically good nor particularly evolved.
However, there is always hope even in the deepest pit. For Corrie Ten Boom, it was in knowing Christ. For a little Jewish boy, it was a Father who willingly sacrifices his own life and provides his son a sort “Hiding Place” in a myth that was more credible than the truth.
In the midst of these unimaginable circumstances of poverty and bondage Guido takes on a seemingly impossible task: he sets his mind to protecting his child from the horrors that surround them in the camp—through his own pain and fear—and creates an alternate world filled with playfulness and intrigue.
He explains that they are going on a vacation and it is very exclusive; there will be contests and prizes and the grand prize will be a real tank (that the workers are busy building). After the boy hides in the barracks all day—because they are exterminating the children, the elderly and the infirm—Guido comes back with stories of games and competitions that have scored them hundreds of points closer to winning the tank.
No matter what happens or what the boy hears Guido fights to imbue his son with a sense that life can be beautiful anywhere and that innocence can be kept even in an Earthly hell. He gives a lifetime of hope and memories to Giosué that are never forgotten.
Benigni shows that the power of love and family and imagination can conquer many hardships, and he weaves a wondrous tale around it. Life is Beautiful is deserving of every praise it has gotten and is one of the year’s best films. Indeed, a classic.
Real tragedy is mixed in with the overpowering display of the love this man had for his son. I cannot usually sit through a movie more than once, but I really think that I could have seen this one again that same night. I did not see or hear anything I felt was offensive to myself as a Christian.
Roberto Benigni’s acting and direction is flawless. His wife Nicoletta Braschi gives a luminous performance as the non-Jewish wife who chooses to share the fate of her husband and son. Several scenes in the movie point out the stupidity of racism. The schoolroom scene is especially hilarious in this regard.
My son and I caught ourselves laughing through-out the concentration camp scenes as the father weaves an increasingly imaginative and elaborate web of lies to keep his young son from realizing the horrific reality of their circumstances. For example the Nazi officials become “the mean guys who yell a lot,” one of the opposing “teams.” Begnini draws the audience into “the game” along with the young boy and yet maintains dramatic tension as we share the father’s awareness of the ever-present danger.
The horror and madness of the Holocaust is brought into focus through brief but powerful moments of truth that intrude into the father’s elaborate fantasy. Yet somehow he never gives way to despair. His imagination and resilience are the only way he can protect his son. This poignant story of love and self-sacrifice is worthy of viewing by Christians. Highly recommended.