‘Life’ Lessons

I am concerned with the comments of Andrew Christie regarding “Life Is Beautiful,” where, in discussing the message of the movie, he seems to be taking it almost literally (Letters, March 14).

Many stories (a prime example being Kafka’s “Metamorphosis”) are, of course, never meant to be taken at purely face value. Rather, they are illustrations of a point being made by the author, asking for that suspension of disbelief so necessary for the telling of the tale. I don’t believe Roberto Benigni is asking his audience to be credulous of the entire story; instead, he is using it to show the beauty of life even in the worst of situations.

Amid the hellishness of the Holocaust, he is showing not that the human spirit conquers all (because it doesn’t), but that life is precious, and it is worth risking everything for it. He is not overcoming that hellishness, he is telling us that a flower can still grow and flourish from its ashes.

VICTORIA F. STANTON

Encino

*

Having read Mona Edwards’ and Andrew Christie’s misguided (and in Christie’s case, incredibly cynical) opinions of “Life Is Beautiful,” one can only wonder how they arrived at them after watching this enchanting and poignant film. I just don’t understand how they could possibly misinterpret the theme of this work and feel that it sugar-coats one of the most horrifying episodes in human history.

Nowhere in this film do we see suffering poked fun at or belittled for a cheap laugh. Instead, we are reminded of the majesty and capacity for humor of the human spirit when faced with incredible suffering. This is supposed to be an ego orgy for Benigni? His performance is incredibly funny and sweet; he deserves all the accolades he is receiving, and I hope he brings home a few Oscars tonight. Suddenly it’s a crime for an actor to want to be loved by his audience? What actor doesn’t?

However, Mr. Christie, if you really want to indulge in a maudlin “orgy of self-adulation,” try tuning in to a certain telethon this Labor Day weekend.

STEPHANIE RIGGS

North Hollywood

*

I see “Life Is Beautiful” as a statement about the need to search in the darkest corners to find the real joy in life. Benigni searched for the darkest corner he could imagine, and found it in the Holocaust. And he found a way to bestow the gift of joy to the next generation in the wake of that nightmare. It is a measure of his brilliance, not his self-adulation, that he could portray the horror of the reality along with the quest for the tiny flame of humanity hidden deep within himself.

I do not believe that this film in any way belittles the Holocaust or its victims. Christie needs to remove his blinders, to see that there can be life beyond the Holocaust that can still be beautiful.

I recommend another most excellent film about lessons from the Holocaust: “Genghis Cohn,” done by the BBC.

DIANE MERON

Yorba Linda

*

As an actor who created the character of Sol Nazerman in “The Pawnbroker” and the rabbi in “The Chosen”--two films that explore the joy and pain of being Jewish in our world--I find Christie’s letter, which calls Roberto Benigni “a second-rate comic,” to be the product of a fourth-class mind.

The film was a picture of the courage and fatal consequences sometimes faced by a parent to protect the child they love--in this case, pitiful but heroic.

ROD STEIGER

Malibu

*

In Christie’s criticism of “Life Is Beautiful,” he decided to bash Jerry Lewis and his unfinished film “The Day the Clown Cried.” Unfortunately, he needs to get his facts straight.

Christie’s claims that it was Lewis’ “longtime dream” and that “no distributor would touch it” are patently false. Lewis was asked by producer Nate Waschberger to direct and star in the film. It was financed by a Swiss-French production company. When funds ran out, Jerry used his own money to pay the crew and continue the production, while Waschberger disappeared. The film was in post-production when it was completely halted. To this day, it is tied up in litigation between the two countries (along with films by Godard and Bergman) and remains unfinished.

RICK FARMILOE

Valencia