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Fantasy
Guido creates fictitious whimsical worlds for those around him. First, he calls Dora "princess" and even claims to be a prince himself. Even though both of them know the truth, they continue
to entertain the fantasy and play the game. Through this we see that Guido's fictions are actually a form of escapism, that
is, a way for him to not only cope with reality, but also instill it with beauty.
Guido also breeds a series of coincidences so that he can appear to have manipulated fate or performed
magic. Although he knows that he is simply manipulating someone else, he does not gloat in the act of the deception of others;
he simply takes pleasure in creating another world for someone else.
With his manipulations, Guido changes the way those around him perceive their world, affecting
how they deal with the rest of the world. For example, when Guido rides up on a horse to rescue Dora, he is personifying the
fantasy of a knight rescuing a princess in distress. However, he actually is rescuing her from her surroundings and
actually is taking her away on a horse. Similarly, when he tells Giosué that everything in the concentration camp is a game, he is creating a fictional world to keep Giosué's spirits up and to protect him from his new surroundings. However, at the end of the film, we see that
Giosué has survived the concentration camp and his life and the lessons he has learned are very real. In Life is Beautiful,
it appears, fantasy can become reality.
Innocence
Guido is portrayed as a naïve man, and perhaps this is merely how he presents himself to the world.
We first see this characteristic when Ferruccio describes the Schopenhauer Method to him; Guido takes this explanation very seriously and literally. What he fails to comprehend
is that this concept is a state of mind, not a magic trick. This innocence is further displayed when his Uncle Eliseo shows him that his horse has been painted with the words "Jewish horse” and he takes it as an annoying prank rather
than an omen of violence and hostility. Guido seems to be incapable of understanding that cruelty or evil breeds in others.
We also see Giosué’s childhood innocence. As a young child, Giosué is naïve and inexperienced
in the world. The game that Guido devises for Giosué shelters him from the evil and brutal parts of human nature. In addition
to protecting his son's life, Guido is protecting his son's innocence.
Silence
Silence marks both bravery and weakness in the film. Silence as bravery is exemplified with Uncle Eliseo; when confronted with abnormal hostility, he reacts without emotion.
When he makes his debut in the film, he has just been confronted by anti-Semitic townspeople. After he didn’t retaliate
or act out, Uncle Eliseo explains that "sometimes silence is the best weapon." He continues about his daily life, barely acknowledging
that he has just been targeted.
Doctor Lessing exhibits silence; however his silence is about the treatment of the Jews. Unlike Uncle
Eliseo, Dr. Lessing’s silence is less noble. As a ranking officer, he has substantial power within the Fascist party
and his silence allows the Fascists to continue their actions without resistance. His refusal to help Guido further affirms
this conviction. While Dr. Lessing does not actually kill anyone, his silence contributes to the evil actions taking place.
His silence becomes a cowardly action, and his decision not to oppose the Fascist party and their treatment of the Jews (even
though his own friend Guido is deeply affected) translates to consent. Silence can equal affirmation.
Bravery
Dora is an epitome of bravery. At the beginning of the film, she finds herself trapped in a relationship
with a man she does not love; she hates her surroundings but feels helpless to escape. When Guido comes along, however, she
realizes that she can, instead, follow her heart. She bravely leaves the safety of her surroundings to be with her true love,
and she becomes far happier for choosing this path. When Guido rescues Dora, taking her away on the horse, he shows that high
levels of bravery are possible and highly desirable.
During the Holocaust, each person had to analyze their situation and decide whether or not to embrace
the new values of society. This disaster tested both personal allegiances and personal values. The conflicts that arose in
the wake of these complex choices tested bravery even further. For example, a Nazi official with a Jewish uncle would have
had to weigh his allegiance to his state against his allegiance to his family, and the question of how to be "brave" would
not have a simple answer. While humanity, idealism, individuality, and willpower are pertinent factors, doing the right thing
is not always as simple as being brave or courageous in the face of danger. Bravery and brave actions depend on a blend of
intellectual, practical, and theological virtues.
Coincidence
Guido continually attempts to give the indication that he has control over happenings of fate.
He first wins Dora’s heart by making it seem as though he is creating miracles when in reality he is simply orchestrating
a series of coincidences. For example, when he and Dora are discussing the key to her heart in a metaphorical manner, he brings
her to a place below a window and calls out to "Maria" for "the key". He does this knowing full well that there is a woman
named Maria who lives in the apartment above and will throw down a key to her husband whenever he yells her name. Guido pretends
that he is calling out to the Virgin Mary, creating a surprise to entertain Dora.
Coincidence is also used to show
that the things that cannot always be controlled and sometimes truly coincidental events prove to be quite magical on their
own. Though Guido masterfully controls coincidences to the best of his abilities, he undoubtedly is limited by his actual
surroundings and limitations of reality. For example, when telling a little girl about being a prince and looking for a princess,
Dora falls out of a barn into his arms, coincidentally supporting his story the story. Guido, in fact, turns out to be the
one who is surprised the most.
Additionally, in the final scenes
of the film, a real American tank picks up Giosué and takes him out of the concentration camp to safety. Guido could not possibly
have foreseen or controlled this lucky event. By pure coincidence, Giosué’s dreams came true and Guido's game was completed.
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