Roberto Benigni

  • Beyond the Multiplex

    Forget the blockbusters: Try the sumptuous "Curse of the Golden Flower," the ambitious "Perfume" or the unflinching "The Dead Girl."
    By Andrew O'Hehir December 21, 2006

  • Is he smiling behind that gag?

    One "Survivor" contestant might be giving away the goods, despite a silence agreement; Spinal Tapster lets us crank it to 11; Roberto Benigni promises more annoyance; and more. Plus: Sting gets stung, dot-com style.
    By Amy Reiter July 28, 2000

  • Look out! Here comes a sound bite!

    Being at the Academy Awards has a strange effect on the attendees. Some are moved to eloquence, some to idiocy, while others become just plain insufferable.
    By Amy Reiter March 27, 2000

  • Confessions of an awards whore

    I sneered at the whole cheesy routine until I was nominated for one. Was I thrilled? I was Sally Field squared.
    By Steve Burgess March 25, 2000

  • A chat with Mr. Oscar

    Damien Bona talks about "American Beauty" and Warren Beatty, "Titanic" and Roberto Benigni and more than 70 years of the academy's hits and misses.
    By Bill Wyman March 24, 2000

  • In the Buffy

    Has Sarah Michelle Gellar become a vamp naysayer? Would a flying rock by any other name smell like perfume? In a world full of uncertainty, one thing's for sure ... three hours of Roberto Benigni at the Oscars are three hours too many.
    By Amy Reiter February 14, 2000

  • A dangerously curvy candidate

    Former Miss Belgium set to bare all if elected; George Dubbya issues naked denial; and Britain's royals become the first family of multiculturalism.
    BY Amy Reiter June 8, 1999

  • The unbearable lightness of Benigni

    Roberto Benigni's comic fable about one family's struggle to survive in a Nazi concentration camp is in offensively poor taste.
    By Charles Taylor October 30, 1998

  • Movie Interview: "I wanted to make a beautiful movie"

    "Life Is Beautiful" director Roberto Benigni talks about the Holocaust, Charlie Chaplin and how he was haunted by the idea of a happy man in a Nazi concentration camp.
    By Erika Milvy October 30, 1998
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