Life Is Beautiful was released in 1997 (as La Vita e Bella), but I could just as easily have been convinced that this film was released in 1967.  The film has a throwback quality that gave it the same flavor as some of the great films created in the 1960s.  The sets, cinematography and even the dialogue had a simple innocent quality that enhanced the experience for me.  Roberto Benigni, who also stars in this film, did a phenomenal job as director, giving this film the essence of a Golden Era in Hollywood film.

Life Is Beautiful provides everything a movie-goer could possibly want.  The script takes us through the full range of emotions.  Benigni introduces us to a sharp young man, Guido Orefice (Benigni) whose mental acuity seems uncanny.  Orefice is great with solving riddles, but even better at using his impeccable timing to woo the girl of his dreams, Dora (Nicoletta Braschi).  Although Orefice earns a meager but honest living working as a waiter, he relies on his eternal optimism and humor to win Dora from a wealthy suitor (Braschi is Benigni's wife in real life, too!)  The two gallop off on a green horse and we are swept forward several years as young Joshua Orefice (Giorgio Cantarini) comes running from the greenhouse.  Joshua is willful and every bit as sharp as his father. 

The film takes a sour turn as we realize that much has changed since Joshua was born.  Nasty signs that declare "Jews and Dogs not allowed to enter" and graffiti mark the walls of the Orefice's town of Arezzo.  Sandbags are visible everywhere.  The darkening tone escalates, as we see Guido, Joshua and Uncle Eliseo (Giustino Durano) are carted away in a military truck.  They arrive at a concentration camp, where Guido uses his quick wits to convince young Joshua that the prison camp is an elaborate game, a surprise for his birthday.  Guido's unflappable determination to protect Joshua's innocence even amongst the death and decay of a concentration camp provides for some interesting opportunities to explore the full range of feelings.  Hope, despair, humor, love, sadness, loss...this film visits the depths of your soul.

The writing in Life Is Beautiful is nothing short of genius.  Benigni co-wrote the story with Vincenzo Cerami.  The very idea that you could make a film about fascism, prejudice and life in a concentration camp and find room for humor speaks to the originality and creativity that Benigni and Cerami bring to this script.  The plot meanders along with no clear direction, but dark foreshadowing that indicates the coming tribulations.  The film is a love story, exploring the uncanny love between Guido and Dora, and the parental love for Joshua.  The dialogue has a crisp talkative pace at times, where the sub-titles moved at speed-reader pace.  But it was excellent.  It did not appear that the humor lost anything in translation.  The exceptional exchanges between the characters showed an immense intelligence was applied to this script.  Life Is Beautiful had writing that was a breath of fresh air.

Benigni has a quality that is part Jerry Lewis and part Clark Gable.  Okay...maybe Clark Gable is a stretch.  But Benigni definitely has a charm that stems from his great comic timing and general liability.  Benigni was exceptional in the lead role.  His spouse, Braschi, obviously had great chemistry with him.  Braschi has a smaller role in this film, exuding a quiet sweetness (and foil to Benigni's antics) whenever she is on screen.  The scene stealer was often Cantarini, who was actually about four or five when this film was made.  Cantarini seemed to be much intellectually much older.  The script called for the part to be a child wise beyond his years, so you might think they would cast an under-sized child a year or two older.  They didn't need to.  Cantarini was completely credible...sharp, quick and convincing.  The cast brought an exceptional script to life.

I have read some negative comments on this film, which generally tend to center around the idea of making light of life in concentration camps.  People are entitled to their opinions, but I believe that maybe they miss the point of this film.  I even read a satire which changed the facts of this film, placing it in the antebellum south to "prove" the insensitivity of this film.  The film does not glorify concentration camps, nor does it actually make light of the situation.  The film takes those issues head on...discussing what actually went on (gas chambers, bodies piled up, prisoners sorting personal effects, tattoos, forced labor, etc).  This film is about the characters and Guido's eternal optimism.  Guido loved his son and wanted to protect his innocence.  This has somehow been perverted by some viewers to something it is not.  Joshua is five years old.  What is wrong with wanting him to still have a childhood even in the midst of suffering?  That is what Guido was after.  It was a touching concept.  Benigni could have written the story with Joshua ending up in the gas chamber and his mother coming across his clothing.  That would have been high drama...sad and a reflection of reality.  But that is not what this movie is.  I would highly recommend this film...one in which the voices that approve drown out the voice of opposition.  The writing, acting and ability to connect with the audience make this film a rare treasure, easily worth five stars out of a possible five.

Recommended:
Yes

Video Occasion: Fit for Friday Evening