WHAT more can be said about the Holocaust? So much has already been said before, that it is difficult to imagine how a film can add anything more. Actor-director Roberto Benigni's bitter-sweet, tragi-comic tale comes from completely left of field. Strange as it may sound, while a large part of the events occur in a concentration camp, it is hilarious. An inspired, sensitive piece of film-making that brings tears of laughter, as well of sadness.

Benigni, one of Italy's most celebrated comedians, plays the chaplainesque Guido, a sharp-witted, joyful fellow who has moved from the country to a town in Tuscany to start a new life with his friend Ferruccio. Although Jewish, they are too exhilerated by the thought of their new lives to pay attention to the rising tide of anti-semitic fascism.

Guido lives a charmed life. In the very opening scene he and his friend survive a near fatal car crash, after the brakes fail on the pair's car. Immediately after this incident the two pals stop off at a farm, and the girl of his dreams falls out of a hay loft and into his arms.

Chance and serendipity play a big part in the film, and Guido plays a big part in making sure that fate works in his favour, orchestrating and opportunisitcally using situations to his advantage. Especially where love is concerned. He desperately wants the girl, Dora (Nicoletta Braschi), but she wont make a date. "I prefer to meet you by surprise," she tells him. What follows is an outlandish, but wonderful courting ritual, that combines a mixture of slapstick, games, and wild satire.

Several years later, the nazis come to take Guido and his boy, Giosue, off to the concentration camp. To protect Giosue from the true horror of the situation Guido pretends that it is all a game. Again he finds himself drawing on all of his native wits and fearless, good nature, turning tragedy into comedy.

If this sounds like fairy tale stuff, that's because the film borders on the incredible throughout. But, it is also powerful stuff, if you can suspend your disbelief to the end. Benigni is a consummate clown, but capable of playing it serious as well. An all-rounder. Nicoletta Braschi, who has appeared in all Benigni's films, brings elegance and sophistication to the part of Dora, while young Giogio Cantarini is thoroughly cute as the little boy. Even if some of the concentration camp scenes do stretch credibility to the limit, it is cleverly done. In short, this is a delightful film. You have to admire the boldness and originality of the idea.