By Kobi Niv, Jonathan Beyrak Lev
Roberto Benigni's romantic comedy lifestyles is gorgeous loved great good fortune all over it used to be proven. as well as successful nearly each attainable movie award, together with 3 Oscars, lavish compliment and movie reports, it grossed over 1 / 4 of a thousand million dollars—the such a lot ecocnomic Italian motion picture ever. only a few have puzzled the movie—until now. With sharp, uncompromising good judgment and eye-opening perception, Niv analyzes the movie and its script scene-by-scene to teach why existence is gorgeous is particularly faraway from being the blameless, fascinating, and heartwarming movie it seems that to be. the writer argues that the movie not just lends help to the critical arguments of Holocaust deniers, yet is de facto a quasi-theological, Christian parable which seeks to justify the extermination of Jews within the twentieth century as divine punishment for the sin of the crucifixion of Jesus thousand years in the past. existence is gorgeous, yet now not for Jews is a riveting publication that easily and concisely increases a few very important and complicated rules approximately movie and psychology in post-Holocaust civilization. It additionally serves as an user-friendly path within the appreciation of movies and creative texts mostly and in decoding their deeper meanings, educating the reader to extra basically clutch the hidden importance of cultural approaches. this is often the 1st English translation of the Hebrew textual content.
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Extra info for Life is Beautiful, But Not for Jews: Another View of the Film by Benigni (Scarecrow Filmmakers Series)
Sample text
The official, legalized license to kill Jews-men, women, young, and old-right in public, with no need to hesitate or to seek any legal, moral, or other justification, at any time and place, for any excuse or for no excuse at all, was an integral part of the process of the Holocaust and its essence. The elimination of a Jew, officially branded as nonhuman, was a nonevent, especially in the concentration camps, where the Nazis had no need, as they sometimes had in other circumstances and places, to hide their actions in order to deceive popular opinion.
For why exactly does the father have to protect his son by making up that complicated story about the game and gaiiiing points to win a tank if there’s no need to, since the child is not actually in mortal danger at all? " Another objection of the same kind I've come across in the film's defense was that the camp is not located in Poland, where mass extermination did take place, but in Italy, where prisoners were treated much more humanely. S o , once again, assuming this was the case, in such a humane camp the film's plot would lose its logic and its psychological justification, since Guido, the father, would have no reason to make u p the tank game.
Let’s suppose, for the sake of the argument, that there indeed existed and still exist, in other times and places, camps just like those in which the Germans gathered Jews and Gypsies from all over ELIrope to exterminate them. If so, these camps, too, would have mass extermination going on in them, so Benigni should have somehow shown that fact in his ”representative” concentration camp. But if those other concentration camps he talks about are not exactly like the German camps where industrialized massacre took place, then they may very well be ”prison camps,” ”reeducation camps,” or Soviet-style ”gulags,” but not German concentration or extermination camps.