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The camera loves Sophia Loren, it always has. A stalwart in the world of film acting and one of the last remaining stars of Hollywood’s golden era — she has a career which spans over seven

decades with innumerable accolades under her belt. In 1962, she became the first actor in a foreign film to bag an Oscar for her role in _Two Women_ (1961). Since then, she has proved her

mettle as a serious actor in multiple films like _Marriage Italian Style_ (1964), _A Special Day_ (1977), _Nine_ (2009) among others. And, despite the inability of the film word to deal with

the sex symbols way past their prime, she stands out as an aberration, an octogenarian who is relentless in her pursuit to churn out good work. ALSO READ: GET 'FIRST DAY FIRST

SHOW', OUR WEEKLY NEWSLETTER FROM THE WORLD OF CINEMA, IN YOUR INBOX . You can subscribe for free here In her latest Italian movie, _The Life Ahead_ ( _La vita davanti a sé_ ) directed

by her son Edoardo Ponti, she delivers a masterful performance. The veteran actor lifts up the entire production from the claws of mediocrity and turns it into a tear-jerking tale of

intransient pain and intermittent solace. An examination of the human condition and the human need for true companionship, the movie does best when Loren is in her element. She plays the

role of Madame Rosa, a holocaust survivor and an ex-prostitute who now devotes her time in taking care of abandoned children. Rosa is a fiery, self-confident, old woman who tries to put a

lid on her troubled past, but in vain. Loren captures her deepest anxieties artfully as she grapples with her memories from Auschwitz. They serve as a harsh reminder that her being has been

altered irrevocably since her tryst with the truly ugly. As the film commences, the past refuses to dissipate. Instead, it chooses to weigh down on her like a bag of bones, putting her in a

state of perpetual insecurity, dragging her down the hellish depths of dementia. * Cast: Sophia Loren, Ibrahimi Gueye, Renato Carpentieri, Babak Karimi, Abril Zamora * Director: Edoardo

Ponti * Storyline: In seaside Italy, a Holocaust survivor with a daycare business takes in a 12-year-old street kid who recently robbed her The ageing screen veteran is complemented by the

magnetic screen presence of Ibrahima Gueye who plays a troubled 11-year-old Senegalese boy by the name of Momo. Also the narrator of the story, Momo lost his mother when his father decided

to kill her, after she refused to prostitute herself. Living with Dr. Coen (Renato Carpentieri), he is a juvenile delinquent who meets Madame Rosa while trying to steal her handbag. After

Dr. Coen makes Momo return the stolen bag to Rosa, she takes him under her wings, albeit begrudgingly. The ensuing conflict between the two makes up for some genuinely heart-wrenching

moments. Soon, the friction between them transforms into an unlikely alliance. Neither one can understand the other and yet, when their worlds collide — the ever throbbing pain of life and

living cuts through their souls like a deep flesh wound, uniting them in their misery. Gueye gets into his character’s shoes with much aplomb, often conveying more with his expressions and

body language, than with words. Momo is stuck in the brash irrational behaviour pattern of a juvenile youth, but also displays a softer side — a vulnerable kid incapable of expressing

himself emotionally and in dire need of affection from a motherly figure. Among the supporting cast of actors, the characters played by Babak Karimi and Abril Zamora are fleshed out

deliciously. Their acting exploits coupled with a vibrant story arc add more nuance to the tale. Viewers are lured in by some exquisite acting and engaging cinematography, which brings alive

the story of Momo and Rosa in the sunny Italian island of Bari. However, the screenplay adapted from Romain Gary’s novel _The Life Before Us_ lacks the edge which makes the novel an

interesting read. Instead, it relies on its actors to carry the film on their shoulders. Thus, despite all its initial promise, the viewers are not left fully satiated by the final

experience, which is disappointing in more ways than one.   Composer Gabriel Yared provides an interesting score, which does adhere to some of the central themes being explored in the movie.

That, coupled with Laura Pausini’s emotional rendition of _Lo si (Seen)_ and the hip hop tunes blaring out of Momo’s headphones, are easy on the ears but do little else. _The Life Ahead_ is

not a perfect movie, but still a fitting tribute to Loren’s genius and a sort of launchpad for the up-and-coming Ibrahima Gueye. Its exploration of an endearing bond forged between troubled

youth and ailing senescence is just a storytelling device, a tool to chip away at the blinding ocean of emotional sorrow engulfing human beings, and an effort to explain its existence. _The

Life Ahead is currently streaming on Netflix_ Published - November 17, 2020 05:18 pm IST Read Comments Remove SEE ALL PRINT RELATED TOPICS English cinema / reviews / World cinema