Recently laid off from her schoolteacher job, Magda apparently has no friends or other family.
Julian, the kind of only-in-movies doctor who seems to exist solely for one special patient, even regularly serenades her with love songs.
(The film’s use of blinding white as a design motif underlines just how pure and close to heaven Magda is, further bludgeoning the viewer into admiration of her indomitable spirit.) She is Love Itself, with three adoring men (including the eventually repentant Raul) buzzing around her light. There is no lack of hugs, tears and miscellaneous histrionics, through all of which Cruz’s character accumulates the life force of a thousand nobly self-sacrificing heroines. He seems a more fit father figure than Raul anyway, and once Magda recovers from her operation, this new domestic regime born of tragedy looks like a keeper.īut cruel fate isn’t done with Magda yet, and at this approximate midpoint, “Ma ma” goes from being a straightforward, rather simple but well-handled soap opera to a shameless load of bathos. So she and Arturo become one another’s primary support as they undergo their separate ordeals, developing an attachment that deepens further when he becomes a widow. She packs off a temporarily none-the-wiser Dani to spent some summer vacation time with relatives. Magda takes the distraught man to the hospital, then continues visiting him there after her own subsequent radiation therapies - which she’s informed no one else about, her self-absorbed academic husband, Raul (Alex Brendemuhl), having recently abandoned the family for an affair with a student.
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