If one were going to make a humorous film or a lightweight romantic comedy, many things would come to mind long before thinking of using the Holocaust as source material. While some films and most notably the 1960's TV show "Hogan's Heroes" depicted the German military forces in a comedic fashion, the immense gravity of millions of people being murdered due to their ethnicity usually doesn't lend itself to comedy.
Case in point is Steven Spielberg's powerful "Schindler's List" that showed the horrors of such atrocities in a decidedly solemn fashion and has become the de facto standard for that unforgettable period of history. In sharp contrast, Roberto Benigni -- who serves as this film's star, director and writer (along with co-writer Vincenzo Cerami) -- delivers a decidedly more upbeat, lightweight look at the tragedy with "Life is Beautiful."
While some might mistake his work for being unforgivably irreverent about a subject that's normally never associated with that adjective, that couldn't be farther from the truth and will most likely only come from those who've yet to see the film. For once they do, they'll realize that it's as much about the human spirit and surviving unspeakable atrocities as is Spielberg's moving and harrowing masterpiece.
Essentially two films in one, the first hour or so of "Life is Beautiful" is amusing, but lightweight stuff. During this time -- where only hints of what's to follow occasionally appear -- we get to know the protagonist and see that he's an unassuming, charming and carefree, good guy.
From an opening sequence where Guido is mistaken for a king as he tries to wave gathered townspeople out of the way while careening through them in a car without brakes (obviously inspired by the scene from "Kelly's Heroes" where a WWII American general played by Carroll O'Connor is mistaken for Charles de Gaulle) to another where he poses as a school inspector lecturing the virtues and literal embodiment of Aryan superiority and shows his own bully button to accentuate the point, Benigni delivers some funny moments.
Something of a hyper mixture of Charlie Chaplin, Peter Sellers and Robin Williams, Benigni ("Son of the Pink Panther") is a funny performer and his overall demeanor immediately puts the audience at ease and a smile on their faces. That's important, since the second half of the film -- that abruptly begins with a sudden jump in time -- delves into far more serious subject matter. While that headfirst transition from fluffy romantic comedy to a harrowing concentration camp story would seem like the moment where the film suddenly turns ugly, loses its momentum and derails the audience's enthusiasm in the project, it's the reverse that's actually true.
Although the first half is charmingly amusing, it lacks direction and focus and one constantly wonders where the story is heading. As such, it's a bit too long in introducing what essentially becomes the setup for the second half. Fortunately, that's where the film really takes off. Becoming a wonderful mixture of comedy, tragedy and genuinely felt compassion, this latter part of the movie is a tremendous piece of filmmaking.
Understanding the need to carefully balance the serious and comedic aspects of what the story has now become, Benigni employs an ingenious device that not only allows that, but draws the audience deeper into the story and its characters.
Realizing the gravity of the situation and wanting to keep his son in the dark about it for as long as possible, Benigni's character channels his energetically whimsical demeanor into a clever method of helping his family and himself survive. Having the character turn the serious matter and potential horror into a game for his son, Benigni not only provides a way for the characters -- and, in turn, the audience -- to get through the ordeal, but also creates great, self-sacrificial depth for his character.
Of course the film never directly delves into the horrors of the Holocaust like "Schindler's List" did, as that much realism would have derailed this film's efforts. Instead, it hints at or briefly explores those elements, but never to the point where they'd tip the balance toward ultimate tragedy.
Beyond Benigni's performance that continually gets better as the story progresses, the real highlight of the show is young Giorgio Cantarini. Perfectly playing the part of the young boy who goes along with his father's ruse but at times nearly seems to know much more than he leads his dad to believe, Cantarini is a delight in every scene in which he appears.
Nicoletta Braschi, however, who just so happens to be Benigni's real-life wife, unfortunately embodies a less developed character who gets substantially less screen time than her male counterparts. As a result, the parts of the story that deal with her aren't quite as effective as those with the father and son.
Nonetheless, and despite its first half that's a bit too long in setting up the story, the film is a delight to watch. Accompanied by a hauntingly moving score (from composer Nicola Piovani) and showing that family love and the human spirit can conquer nearly any obstacle, "Life is Beautiful" is an engaging, funny, and heartfelt experience. We give the film an 8 out of 10.
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