Madame Rosa

A must-watch for every French cinema lover. A moving story which is also a commentary of Frances social tapestry in the 70s. Signoret is brilliant but personally I couldn't warm up to any of the children. Especially the main teen was rather unsympathetic, maybe intentionally! As a whole, from execution to the script still highly recommended.

for me, it is special. because it represents almost a slice of memories. madame Rosa has many faces. she is silhouette of many persons. and fantastic art of Simone Signoret gives new powerful nuances to an old portrait. story of an old woman and a boy. the lady can be a grandmother or aunt but, in this case, she is only a single pray of time. the boy, if you has a little courage in sauce of imagination, he is you. in moments of old age. sure, the theme is not new. but the work of Gary novel, art of Moshe Mizrahi, the colors of a universe out of reasonable limits, the dialogs and the looks, all is unique. it is recipes of a life lesson. but, in same measure, it remains a confession. to yourself, viewer of an alternative existence, touching story who may be yours.

It's a shame that this film doesn't have a wider audience here in the US. Simone Signoret gives perhaps the finest performance of a distinguished career, unafraid to let the ravages of time and hard living show.

The film has some surface similarities to Central Station in that both films are about older women finding new meaning when having to care for a child, street urchins in each film. Both women are embittered and angry at life in general.

Rent Madam Rosa if you can find it. Anyone who loves exceptional film will be happy they gave this one their time.

A powerful drama directed by the Egyptian Moshé Mizrahi, adapted by himself from Émile Ajar's (Romain Gary) novel "The Life Before Us", winner of the Goncourt Prize and one of the greatest successes of French literature of the 20th century. It also earned Mizrahi the Oscar for Best Foreign Film in 1978 and Signoret the César for best actress.

A belated but profoundly human realism, passed among the prostitutes and transsexuals of Pigalle, among Muslims, Jews and Christians, among Nigerians, Vietnamese and Algerians, all united in the struggle for survival and above all in the human condition, which surpasses all differences and unites all peoples and races.

A humanist and deeply inclusive work, avant la lettre, with a memorable performance by Simone Signoret.

In an apartment building in Paris a physically and mentally ailing Jewish Auschwitz concentration camp survivor and former prostitute called Madame Rosa (Simone Signoret) looks after the children of working prostitutes, including an Algerian Muslim Arab boy called Momo (Samy Ben Youb). This 1977 French feature film won the Oscar for Best Foreign Language Film, and is based on the award winning novel by Emile Ajar (Romain Gary) 'La vie deviant soi' ('The Life Before Us' / 'The Life In Front of Oneself') as directed and adapted by Israeli film director Moshe Mizrahi (who'd previously directed the not bad 'I Love You Rosa' in Israel). Having (you sense) certain slight autobiographical elements, as well as good performances (especially from Signoret as the worn out Madame and Gabriel Jabbour as the blind Mr. Hamil) and an at times documentary style to it, it's a film which you feel is trying to bridge divisions between people. It's certainly a very theme rich film dealing with issues like prejudice, marginalisation, identity, ethnicity, culture, religion, poverty, survival (in Auschwitz or on the streets), memory, trauma, old age, senility, euthanasia, the toll of time ("I like it when things go backwards" says Momo) and the shaping of personality by experience. But just because a film is thoughtful and poignant it doesn't mean it can't have humour, as for example when Madame Rosa winds Momo's 'father' up by pretending she's brought Momo up Jewish. Madame Rosa is eventually 'saved from life'. "We cannot live without (somebody to) love".