There is a detail that explains everything. Grandma came to Guido's bookstore, Guido was taken away by the police, only Joshua was there, Joshua didn't know Grandma, grandma pretended to go to the bookstore and buy books, she left an envelope and made up stories with Joshua, She tricked Joshua that she would see her grandmother on her mother's birthday tomorrow, but when she was about to leave, she was stopped by a "grandmother" behind her. Joshua is smart, he already knows it, he's just sensible. He always knew that his father was making up stories, he was just very sensible and wanted to make his father happy. It was not until the tank finally drove in front of him that he cried out: "There really is a tank!" Finally, "We won" shouted out by Joshua and Doraqiqi, which has a double meaning. For Joshua, it's a combination of the two, a game of fiction, which he chooses to believe, and they win; a real war, which he has always known, and which they win. The film is full of laughter, but tears are all held back to the last second. Everyone talks about the greatness of Guido, but what moved me even more was the greatness of Joshua, a sensible child who knew how to love and trust his father. But there is something about the film that I am not satisfied with. In the play, the character structure of mother Dora is too passive, especially in the second half of the film, she completely retreats into a symbol and target, and no longer has any action. In addition, the tone of the film is too frivolous and optimistic. It weakens the darkness and danger in the concentration camps while revealing the collective numbness and weakness of too many murdered Jewish communities, the unresisting, self-sacrificing, walking corpse-like images. This makes it unreal on the one hand and too sad on the other. There are two other points worth mentioning. "Joshua"'s willfulness allowed him to escape the "bath", which is not necessarily "willful", he is actually very smart. He later learned that he was the only child left in the camp. There is also a particularly charming long shot. Guido took Dora home with a horse, but the door could not be opened, and Dora walked into the conservatory next to him. Guido opened the door and couldn't find Dora, so he followed the flower room, the empty mirror stayed for a few seconds, and then heard Dora's voice, their child Joshua ran out of the flower room, the camera opened, Guido And Dora was already waiting outside the door of the flower room. After a few years, the excellent seamless transition, the film silently entered the second act, and at the same time hinted that the beauty is like homecoming.
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