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All of this early material, the first long act of the movie, is comedy--much of it silent comedy involving the fate of a much-traveled hat. Only well into the movie do we even learn the crucial information that Guido is Jewish. Dora, a gentile, quickly comes to love him, and in one scene even conspires to meet him on the floor under a banquet table; they kiss, and she whispers, "Take me away!" In the town, Guido survives by quick improvisation. Mistaken for a school inspector, he invents a quick lecture on Italian racial superiority, demonstrating the excellence of his big ears and superb navel.

Several years pass, offscreen. Guido and Dora are married and dote on their 5-year-old son Joshua (Giorgio Cantarini). In 1945, near the end of the war, the Jews in the town are rounded up by the Fascists and shipped by rail to a death camp. Guido and Joshua are loaded into a train, and Guido instinctively tries to turn it into a game to comfort his son. He makes a big show of being terrified that somehow they will miss the train and be left behind. Dora, not Jewish, would be spared by the Fascists, but insists on coming along to be with her husband and child.

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 In the camp, Guido constructs an elaborate fiction to comfort and protect his son. It is all an elaborate game, he explains. The first one to get 1,000 points will win a tank--not a toy tank but a real one, which Joshua can drive all over town. Guido acts as the translator for a German who is barking orders at the inmates, freely translating them into Italian designed to quiet his son's fears. And he literally hides the child from the camp guards, with rules of the game that have the boy crouching on a high sleeping platform and remaining absolutely still.

At this year's Toronto Film Festival, Benigni told me that the movie has stirred up venomous opposition from the right wing in Italy. At Cannes, it offended some left-wing critics with its use of humor in connection with the Holocaust. What may be most offensive to both wings is its sidestepping of politics in favor of simple human ingenuity. The film finds the right notes to negotiate its delicate subject matter. And Benigni isn't really making comedy out of the Holocaust, anyway. He is showing how Guido uses the only gift at his command to protect his son. If he had a gun, he would shoot at the Fascists. If he had an army, he would destroy them. He is a clown, and comedy is his weapon.