Funnyman Takes on Dante’s ‘Comedy’
By BEN SISARIO
Published: May 22, 2009 – The New York Times
Roberto Benigni leapt up with a riff on the 26th Canto of Dante’s “Inferno,” in which fraudulent advisers are engulfed by flames that scorch them. “It’s like landing in Los Angeles or Manhattan, full of little lights like a skyscraper,” he exclaimed in his frenetically choppy English. “Dante describes the lights like fireflies, like a farmer who sees billions of fireflies. And every single firefly is hiding a fraud — people like Madoff. Very cunning, very shrewd. These people are hiding inside the flame because they are hiding in life. The Florentines, you know, they invented finances.”
The delivery is familiar: Mr. Benigni, of course, is the endearingly manic Italian comedian whose Holocaust tragicomedy, “Life Is Beautiful,” won three Oscars in 1999. But for Americans, at least, the subject of Mr. Benigni’s latest project is almost incongruously new. Next week he will begin a short North American tour of “TuttoDante,” a monologue about Dante’s “Divine Comedy” that mixes literary insights with off-the-cuff political jokes. In Italy, where he has been doing the show regularly for three years, it has drawn more than a million people.
“We need to have the nerve to understand why a man with a big nose 700 years ago had the heroic shamelessness to write,” Mr. Benigni, 56, said in an interview the other day at a Manhattan hotel. “Really this is the most daring, bold poetry ever. In 2,000 years of Christian poetry they never surpassed this. They never produced such a scandal of beauty. Never, never, nobody.”
Mr. Benigni’s love of poetry has never been a secret. In “Down by Law,” the 1986 Jim Jarmusch film that introduced Mr. Benigni to American audiences, he cites Walt Whitman and “Bob Frost.” Collecting his Oscar when “Life Is Beautiful” won best foreign film in 1999, he quoted Dante and Blake (after climbing over the seats and blurting, “I want to kiss everybody!”).
“This face that he puts forward as a sort of clown is only a very small percentage of Roberto’s personality,” said Mr. Jarmusch, who also cast Mr. Benigni in “Night on Earth,” from 1991, and in a segment in the 2003 compilation film “Coffee and Cigarettes,” and who remains a close friend.
“TuttoDante” (“Everything About Dante”) introduces Americans to the savant-intellectual side of Mr. Benigni. In each performance he recites a canto in Italian from memory, with detailed explications of poetics and history in English.
For this tour, which begins in San Francisco on Tuesday and comes to the Hammerstein Ballroom in New York next Saturday, Mr. Benigni will perform Canto V from “Inferno,” with the story of Paolo and Francesca, the adulterers who spend eternity tossed by gales of lust.
“He’s a natural scholar,” said Robert Hollander, the Princeton professor. “He calls, and we just talk about Dante. He calls from Rome and says, ‘Bob, what do you think about this passage?’ ” Mr. Benigni wrote a preface for an edition of “Inferno” translated by Mr. Hollander and his wife, Jean, in which he asks whether Dante has been receiving royalty checks in Purgatory.
Mr. Benigni says he sees himself primarily as an entertainer, not a teacher. That means a lot of political jokes, often about his old nemesis, Silvio Berlusconi, the Italian prime minister. Mr. Benigni mocked him relentlessly during Mr. Berlusconi’s first term of office in the 1990s, and he clearly relishes the chance to banish Mr. Berlusconi to Dante’s depths.
“You know, Berlusconi, he passed a lot of laws just for him, just for one man,” he said. “So maybe his punishment could be to build for him a circle in hell, but very personal, just for him: ‘Eh, this is just for you, Mr. Berlusconi!’ ”
“TuttoDante” could also be seen as a kind of purgatory for Mr. Benigni, or perhaps a way out of one. Since “Life Is Beautiful,” which grossed $229 million around the world, his movie career has stumbled. There was no shortage of offers from Hollywood, but Mr. Benigni said that most roles were Italian stereotypes like the pizza man or the Mafioso. He was even urged to make a “Life Is Beautiful” sequel.
“Never in my life will I do this,” Mr. Benigni said, shaking his head.
So he continued making movies in Italy, but with mixed results. “Pinocchio,” in 2002, was a moderate hit in Italy but did poorly elsewhere. Mr. Benigni’s decision to cast himself — then 50 years old — as the puppet boy struck many critics as perverse. “The Tiger and the Snow,” from 2005, which Mr. Benigni also directed, did even worse at the box office.
“Maybe sometimes I have been wrong with some movies,” he said. “Anyway, I try to do my best. I was sincere. I was honest. But I am sure this path that I took is the right path.”
After “The Tiger and the Snow” he began to devote himself to the Dante readings. And although he said he is eager to return to filmmaking (“I would like to make not a divine comedy but a comedy”), Dante is his foreseeable future: requests for the show, he said, keep pouring in, from Korea and Japan, from South America, from towns in Italy he has not been to yet.
“Only comedians can talk about death, life, God and Virgin Mary,” he said. “If was a tragic actor, I couldn’t allow myself. But with this accent I can do it. I can talk with death in person because I am a clown. Yes. And I am proud to be a clown — very much.”
A version of this article appeared in print on May 23, 2009, on page C1 of the New York edition.
«Ne ho parlato questa mattina ed è terribile, è una vera tragedia.
Nell’ambito della serie di articoli pubblicati per festeggiare la ricorrenza dei 
Una foto di Pietro e Roberto giovani attori per “Il Minestrone” (S. Citti, 1981), film al quale collaborarono anche Vincenzo Cerami (per la sceneggiatura) e Nicola Piovani (per la colonna sonora): sedici anni dopo si sarebbero ritrovati tutti insieme per “La vita è bella”…
Quanta paura, Madonna che scrupoli e che riserve ha sollevato, me lo ricordo ancora bene, un film come La vita è bella. Il dissenso più o meno manifesto partiva dai sostenitori della tesi che coi campi di concentramento non si può scherzare, non si può fare comicità. Errore. Perché quel film è una tragedia. Nel senso che c’è una storia che comincia bene e finisce male. Tutto il contrario della Divina Commedia di Dante, che inizia male con l’Inferno e termina benissimo col Paradiso. Voglio dire che quel film era sdrammatico. Finiva il primo tempo che gli spettatori avevano le lacrime agli occhi dalle risate e il secondo tempo che avevano le risate per le lacrime agli occhi. La vita è bella è anche un film estremo. Perché è lo stile che conta. Si può essere laidi e volgari parlando di una farfalla, e si può essere poetici parlando di Hiroshima con letizia. E Fellini diceva che le cose molto tragiche possono essere raccontate solo da un clown. Poi, come dice un altro, come dice Montale, tra l’orrore e il ridicolo il passo è un nulla. E sapete qual è l’anagramma che ha elaborato col mio nome Stefano Bartezzaghi? Birbone integro. Beh, mi ci trovo bene, via.
