Life is Beautiful

Starring Robert Bengini

On any given year, there are comedies and there are comedies, and then, there are Comedies. For example, last year showed audiences base, lowbrow humor with The Wedding Singer, and on the other end of the spectrum, As Good As It Gets, an example of biting sarcasm and sharp wit. This year, though, will be marked by a film that shall remain a classic within the annals of cinematic history. Simply put, "Life is Beautiful" achieves what no other film would dare to even try: make a comedy about the darkest period of the century, marked by a world taboo to poke fun at - The Holocaust. It not only does that, but it manages to perform above and beyond expectations and the risk pays off.

The film starts in 1939, where Guido Orefice finds work by his uncle as a waiter. He soon meets, through a number of hilarious sequences, Dora, a schoolteacher, who is engaged to another man. He attempts to court her every time they meet, and she soon falls for him. Five years later, the film shifts to a darker tone and the family is soon carted off to a concentration camp where Guido and their young son are separated from Dora. Soon, the film's stunning plot kicks in. In order to save his son from the emotional trauma at discovering the truth, Guido convinces his son that this setting is all a game, a contest to win a prize.

Through a simple breakdown, the film can be cut into two parts: the first half is the purer form of the comedy, in which Guido plays a "cinematically stereotypical" bumbling clown (not literally). The style in which it proceeds is a pure fantasy; absolutely nothing goes wrong. There are sight gags, running gags and slapstick, which are accompanied by great lines. The element that is relied upon for the success or failure of all the humor involved is the timing, and it thankfully never fails. What is perhaps even more fascinating is that the execution of the comedy is startlingly uncanny to Charlie Chaplin's routine, which was in a class of its own.

The second half of the film can be seen as an application of the way Guido deals with life, living in a concentration camp. What were soon jokes now become a means of survival; witty anecdotes retain their wit and soon contain depth and meaning as well. This half of the film contains it's most startling and touching moments, most notably, the haunting conclusion of the scene where Guido waits on tables at the officers' residential suite. Another scene, though a bit too similar to one from "The Shawshank Redemption" involves a piece of music being played over the camp/prison loudspeakers, and it is quite affecting.

To its credit, the film's end is shown through the child's eyes and it's a magical presentation, not unlike a Spielberg ending of a film; an overpowering set of camera shots that will let loose the tears in your eyes. More specifically, the ending is quite similar to John Boorman's Hope and Glory, a film, in which World War Two is seen through a child's eyes. "Life is Beautiful," however, is not light cinematic fare.

In terms of acting, there isn't much to say actually, as the concept driving the film is the full force. Robert Benigni, who directed and co-wrote the film is superb in playing the role of the tragic clown. Nicoletta Braschi, who plays Benigni's wife gives a rather stoic performance; you can tell what he feels by looking at her eyes the whole time. Sergio Bustric, playing Benigni's son, gives an average performance. If you're looking for a great kid's performance in a film, which lets him bring out the full range of emotions, check out Henry Thomas' role as Elliot in "E.T"

In terms the impact of the film and its controversy, there may be many that write the film "makes fun of the Holocaust." That statement is incorrect. The film, through humor, shows how a man saved his son, and by doing that retained his dignity as an individual. As opposed to Schindler's List, this film doesn't portray a macrocosmic view of the Holocaust. Rather, it is even more compelling in that it zeroes in on an individual story. It is rare that a film as controversial as this turns out to be so rewarding. "Wag the Dog" is chicken feed compared to this. To truly canonize this film is to place it among the classics of this type, alongside films like Stanley Kubrick's "Dr. Strangelove." It is the film event of the year, and perhaps can be more spiritually rewarding than Spielberg's "Saving Private Ryan." You'd be doing yourself an injustice by not seeing this film. Oh, and by the way , the film is in Italian, but don't worry, you'll forget that after the first five minutes with the subtitles.

Gods and Monsters

Starring Ian McKellen and Brendan Fraser

Most independent films, to the common film-goer, saturated by commercialism, tend to be bland; the subject matter is weird, the actors and plot may be quirky, and the endings are almost always anticlimactic. An even greater bias extends to the indies that are period pieces or biographies. However, and ironically so, the best, or rather, most successful independent features, are those that play to all audiences, in which case, they're not really branded as independent. "Gods and Monsters" gets pretty close.

The film's unique title is derived from a line of one of the films it mentions. Who and what are these mythological beings? Humans, in fact. The film tells us the story of James Whale, the director responsible for Frankenstein, Bride of Frankenstein, and Showboat. The biography is viewed from the focal point of his old age; with bittersweet nostalgia and an eye for sarcasm. His final days are a fictional account, in that there is no doubt that anybody could possibly relive an entire life-span and comment about it conveniently, piece by piece.

The context of all this lies in Mr. Whale's desire for more attention. He hires his gardener, Clayton Boone (played remarkably well by Brendan Fraser), to suddenly pose for him, as he likes drawing the human figure. The audience soon realizes that Mr. Whale is gay, which leads to some funny, yet tasteful jokes, regarding how Clayton adjusts to that fact. Soon, Clayton and Mr. Whale's lives become entwined and Clayton's life becomes more and more amusing. James suffers a terrible stroke and can't control his body. Most notably, he loses his artistic flair. But what soon plagues him is even worse; he involuntarily gets relapses of memory where his eyes bleed history. Here we see his early years from the vantage point of today, a focused, but tinted lens of haunting and vivid images.

From his early childhood, disappointment can be sensed. His family lived on the streets, and he was treated as the family freak; he was talented and smart, a fluke in their genetic line. World War One had it's own share of memories, which left an indelible impression about the nature of death on his life - giving it a sarcastic, sadly humorous tone. This end of his life was rather depressing, but these events led him to shape the Frankenstein films, which begin the second act of the film. What is interesting about this segment of his life is that is not only can it be easily compared to his films, but in a cinematic moment of clarity, Gods and Monsters' writer and director, Bill Condon, found specific segments of those films which Whale directed, and crosscut the imagery with not only Whale's life, but of the story currently being told - that of the relationship between James and Clayton, of a "god" and his "monster." Thus, the three spiked story has a focal point of Frankenstein. It should be noted that as far as documentaries go, it's rather difficult to make them artsy. Finding such a common link to the story is a great stroke of luck.

With regard to its accessability by an audience, "Gods and Monsters" is rather entertaining for a film of its nature. As it really isn't a biography, we get to see the minor points at the end of Whale's life. At this point, the film is driven by the acting. Ian McKellen, straight off of "Apt Pupil," plays Whale, and does a magnificent job. He has already won awards and praise from major film critic circles and is likely to win this year's Best Actor Oscar. What is so special? His character, (not only being difficult to play, being a twisted and decaying man), thanks to reliving every type of emotional event, is able to play through a full range of emotions - we see him happy, sad, melancholy, depressed, angry and retrospective. McKellen basically recreates a life in two short hours; you feel as though you've met the man. Brendan Fraser pulls off no less a feat himself - he is able to finally show his colors after having gone through bomb after bomb of teenager films. James Whale has certainly had an interesting life, and you'll be entertained, involved and absorbed so that you'll truly understand who these Gods and Monsters really are. For those who only hold out for Oscar quality material, the film is certain to receive nominations, after having won the National Board of Review's Best Film of the Year.