Although Sophia Loren has played too many parts to recount in her 86 years, The Life Ahead is probably as close as she will get to depicting an aging, caring senior who is about ready to leave permanently. The good deeds she, Madame Rosa, has done for others, especially youngsters, travel with her as we see how she guides her latest waif, 12-year-old Momo (Ibrahima Guye) from thief and dealer to loving child for an old lady.
While this premise may sound maudlin, it is not. Directed by her son, Eduardo Ponti, this melodrama with thriller touches is all about Momo finding love and connection and Rosa coming to terms with her Holocaust memories while doing her best good deeds at the end of her life. The screen has a few touching minor characters like Dr. Coen, who attends to Rosa also as a friend, and Lola (Abril Zamora), a transgender caregiver who shares affection with her dear old friend.
The Life Ahead is restrained with few high moments. Rather, small interactions lead to our seeing the good in every life, even those of which we don't approve. Rosa is a former hooker, about whom one couldn't harbor criticism or disdain. Like her friends, Lola gives succor when she can, indulges regrets when they come, and searches for love right to the end of the film.
She is "good" just as she tells Momo he is. And that's enough.
While this premise may sound maudlin, it is not. Directed by her son, Eduardo Ponti, this melodrama with thriller touches is all about Momo finding love and connection and Rosa coming to terms with her Holocaust memories while doing her best good deeds at the end of her life. The screen has a few touching minor characters like Dr. Coen, who attends to Rosa also as a friend, and Lola (Abril Zamora), a transgender caregiver who shares affection with her dear old friend.
The Life Ahead is restrained with few high moments. Rather, small interactions lead to our seeing the good in every life, even those of which we don't approve. Rosa is a former hooker, about whom one couldn't harbor criticism or disdain. Like her friends, Lola gives succor when she can, indulges regrets when they come, and searches for love right to the end of the film.
She is "good" just as she tells Momo he is. And that's enough.