The aspect of the film, Life is Beautiful, that I found most
intriguing is the use of parallels between the first part and second part of
the film. In the first part, Guido uses his imagination and storytelling skills
to woo Dora. Then in the second part, he uses those same skills to make his
son, Giosue, believe the concentration camp is a game. Guido also uses the
Schopenhauer Method throughout the whole film. However, the outcome of the
method is more vital in the second part when he ensures a dog does not discover
Giosue’s hiding place. Whereas in the first part, Gido practices the method by
making Ferruccio wake up and Dora look at him at the opera. Another example of
parallels is the use of the fascist salute. In the opening scene Guido attempts
to warn a crowd as his car barrels into them by waving his hands. The crowd
assumes he is giving them a fascist salute. This is a subtle indication that
this film is not as lighthearted as it appears. Then in the second part of the
film the salute is used more obviously while at the concentration camp. The
parallels in this movie are important in crafting Guido as a character who
throughout his life has attempted to make others happy with humor despite their
current condition. The parallels also indicate to the viewer that the second
part of the movie will be much less enjoyable, however Guido will attempt to
make it just as lighthearted as the first part.
When I was watching Life is Beautiful, I felt as though the film was quite disjointed. I couldn't see how the first half, where Guido meets Dora and starts a family, related to the second half, where Guido's family are sent to a concentration camp. However, upon reading your post, the film now makes much more sense to me. During both acts of the film, Guido's character never changed. He was always trying to make those around him feel better, usually through humor or playfulness. However, even though he had to be lighthearted about his situation for the sake of protecting his son, Guido realized just how serious the situation was that he was in. The best example of this came when Guido was carrying Giosuè during the night and he comments that this may be a dream and he happens upon the pile of corpses, quickly turning away. Often characters are best defined during their best times and their worst ones and while initially feeling unrelated, both halves of this movie show us Guido in this way. This in turn makes his character more well-rounded and portrays him much more clearly to the audience.
ReplyDeleteI find it interesting that you make the same connection of parallels of the first and second part of the film. In addition, the way you describe Guido as a character definitely explains a lot of hidden meanings. Specifically, in the way he acts so cheerful although it takes place during the concentration camps, which should not be taken as a "game".
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