(Das Leben ist schön [de])
Italy 1997
d: Roberto Benigni
TF1 Vidéo (Region 2 fr)
sc: Vincenzo Cerami, Roberto Benigni
c: Tonino Delli Colli (Color)
e: Simona Paggi
pd: Danilo Donati
m: Nicola Piovani
p: Elda Ferri, Gianluigi Braschi (Cecchi Gori Group Tiger Cinematografica / Melampo Cinematografica)
w: Roberto Benigni, Nicoletta Braschi, Giustino Durano, Lidia Alfonsi, Sergio Bini Bustric, Giuliana Lojodice, Amerigo Fontani, Pietro De Silva, Francesco Guzzo, Raffaella Lebboroni, Giorgio Cantarini, Marisa Paredes, Horst Buchholz, Claudio Alfonsi, Gil Baroni
pr: 20 Dez 1997
aw: Academy Awards 1999 Oscar Best Actor in a Leading Role Roberto Benigni; Best Foreign Language Film; Best Music, Original Dramatic Score • BAFTA Awards 1999 Best Performance by an Actor in a Leading Role Roberto Benigni • Cannes Film Festival 1998 Grand Prize of the Jury; Nominated Golden Palm • César Awards 1999 Meilleur film étranger • David di Donatello Awards 1998 David Migliore Attore Protagonista; Migliore Direttore della Fotografia; Migliore Costumista; Migliore Regista; Miglior Film; Migliore Produttore; Migliore Scenografo; Migliore Sceneggiatura; Scholars Jury David • European Film Awards 1998 Best Actor Roberto Benigni; Best Film • German Film Awards 1999 Best Foreign Film • Goya Awards 2000 Mejor Película Europea • Warsaw International Film Festival 1998 Audience Award
rt: 111:40 (+4%PAL= 116) min
dvd-rl: 05 Sep 1999
ar: 1.85:1 (16:9 Anamorphic Widescreen)
sd: Italian Dolby Digital 5.1 Surround • French Dolby Digital 2.0 Surround
st: French
supp: • La filmographie
• Le palmarès
• Les coulisses: Italian Making Of featurette (7:06 min)
• Theatrical Trailer (0:51 min)
• Cannes: Award ceremony (4:18 min)
• Press Conference: Interview with director Roberto Benigni (6:45 min)
• Journal de 20h: Interview with director Roberto Benigni (4:48 min)
Audacious but misguided, this determinedly Chaplinesque comic fable starts well enough with the innocent, childlike Guido (Benigni) arriving in a Tuscan town in 1939 to visit his uncle, and courting, in typically eccentric fashion, local teacher Dora (Braschi), whom he manages to seduce away from her Fascist fiancé. So far, so amusing - but then, when the film flashes forward to the couple and their son being sent to a concentration camp, with Guido imaginatively turning events around them into a bizarre child's game in order to protect the boy from the ugly realities of the Holocaust, the whole thing turns sickly, not to say disingenuous (how come the villains are now German rather than Italian?). Well-meaning humanistic 'charm' and a 'poetic' approach to horror (including fuzzy shots of mountains of corpses) are inadequate to the task, and soon bogs down in manipulative and maudlin sentimentality.
— GA, Time Out Film Guide
