If one sees "Madame Rosa" as a heartwarming portrayal of humanity, then I understand dismissing it as sentimental melodrama and an obvious and simplistic message regarding Arab and Jewish relations from a director, Moshé Mizrahi, from Israel and born in Egypt, of a film about the bond between an old Jewish woman and her adopted Muslim boy. That's how Sophia Loren's director-son saw it for "The Life Ahead," based on the same book by Romain Gary as this film, and that remake is largely removed from the heightened tensions in the Middle East during the 1970s, let alone the Holocaust for which the character of Madame Rosa is a survivor. I have no doubt that this is why the 1977 film was awarded the best Foreign Language Film Oscar, but I don't think it's what makes it a good film. The reasons that do probably reflect Mizrahi's training in French filmmaking.
This 1977 film comes across as entirely less manufactured than the 2020 one--somehow more realistic and unpredictable in its meandering plot. The acting headed by Simone Signoret's César Award winning performance in the title role is surely more effective because of this. Plus, unlike the 2020 movie, it doesn't completely pull all the punches on Jewish and Muslim relations. Madame Rosa says some explicitly bigoted things, as does a Muslim father in one scene who is fooled into thinking his son was raised Jewish. Meanwhile, the picture is unusually diverse, religiously and racially, as well as including a black transgender prostitute as a character. What I appreciate most about "Madame Rosa," as opposed to "The Life Ahead," though, is its reflexivity. It's very much a post-Wave French film in that sense. And, it's what is entirely stripped from the 2020 version, reducing the entire thing to a melodramatic message for diversity--noble, perhaps, but bland.
Here, instead, the entire picture is in the end framed as Momo's recorded narration, and that audio is recorded by a bourgeois couple seeking to adopt him. Moreover, the woman, Nadine, is a film editor, and Momo is transfixed by her ability to reverse time. Essentially, then, Nadine and her husband are the surrogate filmmakers within the film recording the same story of Momo's about his adoptive mother, Madame Rosa, that the film is about. The fictional story of the making of the film is placed within it. Additionally, Momo also tries his hand at performing outside of this subplot, by busking with some routine vaguely reminiscent of Charlie Chaplin or, for the French, Max Linder. This act, in turn, seems to be inspired by a street puppetry performance he observes when he meets Nadine early on. This meta-narrative is more interesting than the dialogue on poverty and prostitution (although the prostitution, too, may be seen as another street performance), race and religion and child-mother relations ending in a call for self-determination and euthanasia that concerns the main story. Sappy or not, "Madame Rosa" is cleverly constructed.
This 1977 film comes across as entirely less manufactured than the 2020 one--somehow more realistic and unpredictable in its meandering plot. The acting headed by Simone Signoret's César Award winning performance in the title role is surely more effective because of this. Plus, unlike the 2020 movie, it doesn't completely pull all the punches on Jewish and Muslim relations. Madame Rosa says some explicitly bigoted things, as does a Muslim father in one scene who is fooled into thinking his son was raised Jewish. Meanwhile, the picture is unusually diverse, religiously and racially, as well as including a black transgender prostitute as a character. What I appreciate most about "Madame Rosa," as opposed to "The Life Ahead," though, is its reflexivity. It's very much a post-Wave French film in that sense. And, it's what is entirely stripped from the 2020 version, reducing the entire thing to a melodramatic message for diversity--noble, perhaps, but bland.
Here, instead, the entire picture is in the end framed as Momo's recorded narration, and that audio is recorded by a bourgeois couple seeking to adopt him. Moreover, the woman, Nadine, is a film editor, and Momo is transfixed by her ability to reverse time. Essentially, then, Nadine and her husband are the surrogate filmmakers within the film recording the same story of Momo's about his adoptive mother, Madame Rosa, that the film is about. The fictional story of the making of the film is placed within it. Additionally, Momo also tries his hand at performing outside of this subplot, by busking with some routine vaguely reminiscent of Charlie Chaplin or, for the French, Max Linder. This act, in turn, seems to be inspired by a street puppetry performance he observes when he meets Nadine early on. This meta-narrative is more interesting than the dialogue on poverty and prostitution (although the prostitution, too, may be seen as another street performance), race and religion and child-mother relations ending in a call for self-determination and euthanasia that concerns the main story. Sappy or not, "Madame Rosa" is cleverly constructed.