Language: Italian, German, English
Director: Roberto Benigni (also the protagonist)
The splendidly fabled courtship is both slapstick and fairy tale like. Benigni has made sure that he has the fairy tale depiction throughout the film which adds contrast to the sharp reality.
Classic scene is the mockery of the Aryan supremacy at the school. The Aryan Belly Button – hats off to Benigni. The courtship – eventually stretching for about one third of the film is a well choreographed ballad. The chemistry between the couple – who are real life couple too castes a spell on the screen – the romanticism adding to the picture perfect Italian streets. The glow in the face of Nicoletta (Guido’s wife) every time Benigni magically appears in front of her is a piece of art.
Another satire and ode is the point when Guido answers the question of “Where are we going?” – The confusion and yet the desperation is brought on to the scene in every essence of it.
The kid is used to personify the childishness of the actions against the Jews, a mockery of how foolish their actions were, but yet heart sinking.
The sequence when Nocoletta stops the train and makes way into the train is a heart sinking beauty. The creative characterisation of Guido sells the bitterness with a baby’s smile. The first half sets the character building in place to make the second half as a gripping panache.
The interlude involving the riddles of the Doctor adds another flower to the bouquet. Doctor brings in the confusion and paradoxical interpretation of the German actions. The final riddle goes unanswered and portrays the huge question mark lying in front of life of all the people in the camp. The face of Benigni brings out convincingly the dawn that’s dawns in front of him.
The film throughout has scattered glitters, studded with suspense as well as satire. Benigni has deliberately kept far reaching emotions from spoiling the fairy tale, making the end a volcanic burst of emotional paranoia.
