Life Is Beautiful (Italian: La vita bella, .mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}Italian: [la vita bblla]) is a 1997 Italian comedy-drama film directed by and starring Roberto Benigni, who co-wrote the film with Vincenzo Cerami. Benigni plays Guido Orefice, a Jewish Italian bookshop owner, who employs his imagination to shield his son from the horrors of internment in a Nazi concentration camp. The film was partially inspired by the book In the End, I Beat Hitler by Rubino Romeo Salmon and by Benigni's father, who spent two years in the Bergen-Belsen concentration camp during World War II.
The film was an overwhelming critical and commercial success. It received widespread acclaim, with critics praising its story, performances and direction, and the union of drama and comedy, despite some criticisms of using the subject matter for comedic purposes. The movie grossed over $230 million worldwide, including $57.6 million in the United States, is the second highest-grossing foreign language film in the U.S. (after Crouching Tiger, Hidden Dragon)[4] and one of the highest-grossing non-English language movies of all time.[5] The National Board of Review included it in the top five best foreign films of 1998.[6]
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Parents need to know that La Dolce Vita is a classic 1960 drama that may appeal to teen film buffs. This famed black-and-white film about the sexual escapades of the early European jet set announced the artistry of Italian director Federico Fellini to American audiences. Sex and the pursuit of women are discussed. Drinking, smoking, suicide, philandering, and a mindless quest for fame and money are all on display. Nothing here would really shock teens but they may not understand or be interested in the subtleties of a life in decline, particularly one illustrated in black and white. The movie's final sequence illustrates a dissipated gossip reporter's complete surrender to debauchery and silliness as he and a fast crowd of the too-idle and the too-rich drink, play strip games, and make plans to pair off. Alcohol fuels his cynicism as he loses all hope of redemption. A man commits suicide after shooting his two young children. A bullet hole is seen in his temple. One child is seen in a crib, looking as if he were sleeping. A man slaps his girlfriend in public. Adults drink alcohol, smoke cigarettes, kiss onscreen, and make love off screen. Language includes "s--t," "bastard," "whore" and "damn." To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails.
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Federico Fellini's La dolce vita has been a phenomenon since before it was made, a scandal in the making and on release in 1960 and a reference point ever since. Much of what made it notorious was its incorporation of real people, events and lifestyles, making it a documentation of its time. It uses performance, camera movement, editing and music to produce a striking aesthetic mix of energy and listlessness, of exuberance and despair.
La dolce vita (1959) represents more than just a significant step in the evolution of Fellini's cinematic style. Like such films in America as Gone with the Wind, Casablanca, or The Godfather, La dolce vita transcended its meaning as a work of art and came to be regarded as a landmark pointing to important changes in Italian society as well. It received the Grand Jury Prize at the Cannes Film Festival, given by a jury that included the French mystery writer Georges Simenon and the American novelist Henry Miller. Its commercial success represented the triumph of the serious art film at the box office, and although it was a relatively expensive film to produce (six hundred million lire), it grossed over 2.2 billion lire in only a few years at a time when tickets in Italy cost only between five hundred and one thousand lire. However, Fellini himself did not become a wealthy man as a result, for as the price of the artistic freedom he required to reconstruct most of the film's sets inside the huge studios of Teatro 5 at Cineci when he might well have employed on-location shooting throughout the city of Rome, Fellini ultimately renounced the percentage of the profits his original contract specified. Fellini was never much of a businessman, and the loss of a percentage of what became a colossal return would probably not have bothered him a great deal, for his main concern was the film itself. Without the stupendous sets for which Piero Gherardi quite deservedly won an Oscar, La dolce vita would not have been such a smashing hit. 0852c4b9a8
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