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The film was shot in,, including by the. Director, who wrote the screenplay with, was inspired by the story of and his book In the End, I Beat Hitler, which incorporates elements of irony. Salmoni was an Italian Jew who was deported to Auschwitz, survived and was reunited with his parents, but found his brothers were murdered. Benigni stated he wished to commemorate Salmoni as a man who wished to live in the right way. He also based the story on that of his father Luigi Benigni, who was a member of the after Italy switched to the Allied side in 1943. Luigi Benigni spent two years in a Nazi labour camp, and to avoid scaring his children, told about his experiences humorously, finding this helped him cope.

Roberto Benigni explained his philosophy, 'to laugh and to cry comes from the same point of the soul, no? I'm a storyteller: the crux of the matter is to reach beauty, poetry, it doesn't matter if that is comedy or tragedy. They're the same if you reach the beauty.' His friends advised against making the film, as he is a comedian and not Jewish, and the Holocaust was not of interest to his established audience. Because he is, Benigni consulted with the Center for Documentation of Contemporary Judaism, based in, throughout production. Benigni incorporated historical inaccuracies in order to distinguish his story from the true Holocaust, about which he said only documentaries interviewing survivors could provide 'the truth'. The film was shot in the centro storico (historic centre) of,.

The scene where Benigni falls off a bicycle and lands on was shot in front of in Arezzo. Release [ ] In Italy, the film was released in 1997 by Cecchi Gori Distribuzione. The film was screened in the in May 1998, where it was a late addition to the selection of films. In the US, it was released on 23 October 1998,. In the UK, it was released on 12 February 1999.

After the Italian, English subtitled version became a hit in English speaking territories, Miramax reissued Life is Beautiful in an English dubbed version, but it was less successful than the subtitled Italian version. The film was aired on the Italian television station on 22 October 2001 and was viewed by 16 million people. This made it the most watched Italian film on Italian TV.

Reception [ ] Box office [ ] Life is Beautiful was commercially successful, making $48.7 million in Italy. It was the highest grossing Italian film in its native country until 2011, when surpassed by 's. The film went on to gross $57,563,264 in North America and $171,600,000 in other territories, for a worldwide gross of $229,163,264. It was the highest grossing foreign language film in the United States until (2000).

Critical response [ ]. Received positive reviews for his film and performance, which he starred in with his wife. The film was praised by the Italian press, with Benigni treated as a 'national hero.' , who received a private screening with Benigni, placed it in his top five favourite films. Gave the film three and a half stars, stating, '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.' Michael O'Sullivan, writing for, called it 'sad, funny and haunting.' Wrote in that the film took 'a colossal amount of gall' but 'because Mr. Benigni can be heart-rending without a trace of the maudlin, it works.' 's noted the film had 'some furious opposition' at Cannes, but said 'what is surprising about this unlikely film is that it succeeds as well as it does. Its sentiment is inescapable, but genuine poignancy and pathos are also present, and an overarching sincerity is visible too.' David Rooney of said the film had 'mixed results,' with 'surprising depth and poignancy' in Benigni's performance but 'visually rather flat' camera work.

Owen Glieberman of gave it a B−, calling it 'undeniably some sort of feat—the first feel-good Holocaust weepie. It's been a long time coming.' However, Glieberman stated the flaw is 'As shot, it looks like a game.' In 2002, critic Tom Dawson wrote 'the film is presumably intended as a tribute to the powers of imagination, innocence, and love in the most harrowing of circumstances,' but 'Benigni's sentimental fantasy diminishes the suffering of Holocaust victims.' In 2006, comedic filmmaker spoke negatively of the film in, noting Benigni is a Gentile and had no family die in concentration camps. By contrast, Nobel Laureate argues that those who take the film to be a comedy, rather than a tragedy, have missed the point of the film.