In the opening episode of this anthology series, the focus is on a young woman's fond relationship with a kind doorman at her apartment building in New York City. The doorman named Guzmin is a modern Cerberus, a watchdog always on the lookout for the well-being of Maggie.
The economical episode gives the whirlwind story of Maggie conceiving, gestating, and delivering the child, and the program closes with the child as a youngster of about age 4.
Guzmin's warmth and concern are expressed in sage expressions like "everything is possible," "you must own your actions in life," and, the most touching of all, "I could tell it in your eyes." The latter derives from the doorman's careful scrutiny of the men Maggie brings home. He can judge their worth not by sizing them up, but by looking into Maggie's eyes and soul.
Is the doorman a little creepy? Possibly. It was unclear how he could show up in the hospital delivery room when Maggie was on her final push. And was it endearing to keep the photo of little Sarah's placenta posted at his desk, or was it evidence that might be associated with a predator in a film on the Lifetime channel?
The theme of the series is "modern love." Are we to take the affection of the doorman as a replacement for the love of the father, a British chap who did not want to participate in the naming his child and has long departed the scene? It would be interesting to follow through with more episodes of the story of Maggie and little Sarah to learn whether the doorman will continue to play the role of Maggie's "main man," and how little Sarah's upbringing will unfold if they settle permanently in Los Angeles.
6 out of 19 found this helpful.
Was this review helpful? Sign in to vote.
Permalink
