This charming little film
tells the story of an ambitious Baguio kid aiming to make it good in Metro Manila. Armed with a few hundreds of pesos
and a story manuscript, the intrepid Sixto Mangaoang takes the city bus in
order to meet up with a publisher.
It had been quite a journey
for the bullied fifth-grader. He gets encouragement from his English teacher
and hones his writing skills. He manages to come up with an amazing tale about
a highly adaptive shark that runs away and lives in the boondocks.
Highly adaptive students have been featured
in two excellent films, Mes de Guzman’s Ang Daan Patungong Kalimugtong and
Auraeus Solito’s Pisay. The former had a pair of siblings so focused on their
studies that they can endure walking for miles in ruthlessly cold mornings. Meanwhile, Solito’s film featured a teacher asking his class of brilliant
students, ‘why did the fish leave the seas?’ The answer was it had to leave its
oxygen-poor surroundings and adapt to new feeding and breathing conditions. Just like the bullied, chubby Pisay student
Mat who’d needed a breath of fresh air, Sixto needs a breather from bullies and
parental abuse. He draws inspiration from his shark tale and decides to run
away. He is, I hope I get it right, what Ilocanos call ‘anac ti pating’ or one
who is fearless, and wily. He is determined to pursue his dream even if it
means leaving his family. Sixto, who’d thought of going to Philippine
Science High School, is a smart kid who knows how to fight his battles. He
might not have relatives in Metro Manila but he sure has an ace up his sleeve
in Doctor Rayos. The latter is the same person who’d shown him pictures of
flooded Baguio,
which makes the shark tale somewhat believable. The film Anac Ti Pating has genteel warmth
and wicked humor that makes it likeable. I loved the kodakan moments on
Christmas eve. There’s something funny with the way Sixto engages in a swear
word jousting with a Korean neighbor. Watch out, too, for the cameo of Kawayan
de Guia. The kid who portrayed Sixto
is not the abrasive type of brat. His command of English is just right. English-speaking
kids, most often, mar films made by Fil-Americans (e.g. Ron Morales' Santa Mesa and Tyrone Acierto’s The Grave Bandits). Poor Filipino kids are made to speak
fluent English because it is convenient for the films’ target non-Filipino
audience. On the other hand, Sixto is believable as an intelligent, English-speaking
student. He is also the type of kid who can survive in the jungle city of Manila. Yeah, with his street smart ways and Ilocano blood in his veins, he’ll go places just like the Ilocano shark, Teófilo
Yldefonzo, and reap literary honors and awards just like F. Sionil Jose.
Marian\ghostly apparitions. Elderly people waiting for
death. Peace and security in Southern Philippines.
Those are some of the dominant themes at film festivals in
2012. Elsewhere, the main theme tackled by mainstream films is infidelity and
adultery. Okay, the last bit may not be right as I based it on articles about blockbuster
local films. I’m no expert on mainstream films because I seldom see one. Why?
There are lots of indie films out there that seem better and deserving of my
support.
Last month, December 2012, was pure cinema heaven as film
festivals showered audiences with numerous choices. Even if Cinemanila changed
its sked it still clashed with the Cinema One Originals and Italian Film
Festival events. The downside of having simultaneous screenings is I’d missed
out on some films.
Here is a sampling of notable local feature films in 2012:
Anac Ti Pating(Martin Masadao) - tells the story of an ambitious Baguio-raised kid hoping to make it big in the jungle city of Manila. Armed with a few hundreds of pesos, the fearless Sixto takes the bus in order to seek out a publisher interested in his amazing tale of a highly adaptive animal.
An acting showcase for a wild bunch of mostly unheralded character
actors. They portray crazy, cash-strapped guys who are so passionate about a
film project that they abduct the most-sought after actor in the local indie
scene
Ang Paglalakbay ng mga Bituin sa Gabing Madilim(Arnel
Mardoquio) –
This film, more than Captive, shows us how kidnappers\abductors
in Southern Philippines managed to evade
platoons of soldiers. It’s just a matter of blending in with the surroundings
and staying in their territory
Amidst a bevy of amazing documentaries, this is the one I
like to watch again and again. A solid boost for our national sport, arnis (aka
eskrima or kali).
Or, in short, Imburnal Part Two. From the first scene up to
the end, this great film is as much a work of Sherad Sanchez as it is a work of
fellow Mindanao-based filmmaker Teng Mangansakan. Best thing to come out of Southern Philippines since the signing of the framework
agreement on Bangsamoro. This film will tell you why there was a need for the framework agreement.
Here are two notable short films:
Manenaya (Richard Legaspi) –
One of the best films about desaparecidos. The Pampanga
landscape is perfect backdrop for a story about a burial. Thank you to our
lawmakers for coming up with a Republic Act defining and penalizing enforced or
involuntary disappearance.
Para Kay Ama (Relyn Tan) –
A welcome addition to Chinoy filmography. Che Ramos portrays
a woman coming to bear with tradition and her father’s secret. Can’t get
enough? Then attend the Cultural Center of the Philippines' Pasinaya Open House 2013, which will highlight Filipino Chinese arts
and culture.
That’s it folks. Yes, I’ve seen the new films of Lav Diaz,
Brillante Mendoza, and Raya Martin. Those are not their masterpieces so I
didn’t include them. I’ve seen Colossal and a pair of Gym Lumbera films. They
are not my cup of tea.
I missed though the films Alagwa, Huling
Biyahe, Rigodon… Paging the Film Development Council of the Philippines,
please add more videotheques that can serve as complimentary screening venues
for deserving films.
Year 2013
promises to be a joyful one for local film faithfuls. Newbie film festival CineFilipino released its line-up of finalists, including Sari & Kiri Dalena and Mes de Guzman. Not bad. We'll just have to wait for the film events to happen. There's still time to save money for festival passes and cinemarathons. Have fun watching local movies.
************ The piece below is my 2011 list ************
Not only are indie movies more fun than mainstream ones, they are by far better and more colorful. My list of notable films of 2011 is made up mostly of independent film productions. And, they are just the tip of the iceberg. There are dozens of indie movies worth spending time and money on.
Here, then, in no particular order, are my most memorable film experiences:
“A ballsy magnificent cotillion scene in Sayaw shows the two boys having an argument. Karen steps in to defuse the heated exchange. It sounds simple enough, but the amazing thing is the characters are ‘conversing’ using only their eyes! Bravo!”
Isda (Adolfo Alix Jr)
Like: The best birthing scene in local cinema in 2011. Upstaging the shockingly effortless childbirth moments of Bahay Bata and Tundong Magiliw, the brilliant scene at the stairs sets the tone for viewers to believe in the story of a mother who’ve had a fish for a child. Auraeus Solito and Jeffrey Jeturian may have had better Director’s Showcase entries but can they come up with that masterful shot of a fish jumping into the murky waters?
Dislike: I can’t find a major fault with this film except to say that maybe people see Busong and Bisperas as better films because both deal with socially relevant issues.
“Right off the bat, Ka Oryang grabs the viewer’s attention with its lean, jugular black-and-white depiction of the Diliman Commune at the University of the Philippines (UP). The crisp powerful images (including that of a female Oblation) and chilling soundscape (e.g. piercing banshee wails of the students) send shivers to my bones. I’m moved and teary-eyed as I recall the heroism of students and the sacrifices of young martyrs during the seventies.”
Manila Kingpin: The Asiong Salonga Story (?)
Like: Ever wondered why Asiong Salonga managed to escaped a couple of times from the national penitentiary? Or, why he reigned supreme for years in his turf in Tondo, Manila? The fleshed-out screenplay by Roy Iglesias and Rey Ventura finally answered those lingering questions of mine. The culprit, as always, is politics.
Dislike: The only mainstream movie in this list has a couple of headscratchers (e.g. Mad World song at the climax and the laughably bad ‘may gatas pa sa labi’ dialogue).
Otherwise, the film is surprisingly good and refreshing. As you might have guessed, I’ve not seen Ong Bak or those Hong Kong-styled actioners.
“I consider scriptwriter Vera’s contribution to be equal, if not greater, to that of Arcenas’. His script and dialogues are truly vivid and memorable. He has the ability to make the audience feel and smell the characters.”
“There’s a giddy fan in every one of us. Quark Henares and co-writer Diego Castillo imbue the film with the mentality of rabid, passionate, doe-eyed fans. Movies and songs that made a mark on their young minds decades ago get their fair share of screen time.”
Siglo ng Pagluluwal (Lav Diaz)
Like: The best birthing of a local film in 2011. Days before the opening of the .MOV film festival in September, I was drooling over the event’s slate of films. The teaser listed two films by Diaz, Siglo ng Pagluluwal and Babae sa Hangin. Unfortunately, both films didn’t make it to the fest. A weak, hastily-assembled Diaz film was shown instead.
Cinemanila came and all my disappointments vanished. Siglo ng Pagluluwal was finally screened. Wow! If a masterpiece such as this has to go through difficult birth pains, then we the viewers will patiently wait for months or years in order to savor sumptuous film offerings. Lav, take your time with the editing of the second book of Heremias.
I love the scene in Siglo ng Pagluluwal wherein Angel Aquino advises a filmmaker to let go of her project Babae sa Hangin, which had been causing editing problems for the director. Aquino must have been really wishing for Diaz to let go of Babae sa Hangin footages because she has some apprehension over delicate scenes from the project. What Aquino did in the project is in contrast to her angelic image.
Dislike: Crowd control during the shooting of a preaching scene at the sidewalks. Low budget and guerrilla filmmaking can’t overcome the uzisero and paparazzi behavior of Filipinos.
“Jadaone’s film is a stunning meta-movie mind-fuck. It blurs the line between fiction and reality. All throughout the movie, one is left wondering what the truth is.”
Worth mentioning:
LawasKan Pinabli (Christopher Gozum)
Like: I’ve seen only a third of the film and I loved every moment of it. I will definitely view it again soon (probably in UP Diliman). If it lives up to my expectations then it will be my tenth notable film of 2011. Otherwise, a Cinemanila competitor Sa Kanto ng Ulap at Lupa will be it.
Dislike: I have to leave early because of work. Why can’t Cinemanila screen local films at an early evening slot or better yet, a slot during Friday or Saturday?
*****
Thank you to…
Cinemalaya,
Cinemanila,
Cinema One Originals,
Film Development Council of the Philippines’ Briccio Santos, .MOV's Khavn de la Cruz,
Philippine Daily Inquirer, Society of Filipino Archivists for Film, and the
University of the Philippines Film Institute
for their indefatigable support of local independent movies and classic Filipino films.
I would have loved to see the original version of this film, which is also known as Curse of the Vampires and Ibulong Mo Sa Hangin. But with the sad state of the Philippines' film preservation efforts decades ago, I'll take whatever version is out there. At least the film didn't disintegrate like Daigdig Ng Mga Api, which is allegedly the masterpiece of maestro director Gerardo de Leon. The horror film's English-dubbed version, which I've seen, is from a video transfer. Blood of the Vampires is the video release title although I think Curse of the Vampires, its international release title, is the better and more appropriate English title. The Escudero family is under the spell of a curse. Every family member, excluding the patriarch, will become vampires. The matriarch, long thought to be dead by her two children, wakes up every night thirsting for human blood. A near death experience convinces the Don to modify his last will. In the event of his death, the evil-possessed mansion will be razed down to the ground! There are some gaping holes in the plot. What triggered the intense hatred of Daniel for Eduardo? Who or what killed the matriarch? How was she killed? These gaps lead me to believe that the running time of about 80 minutes is a truncated one. The dubbing is another matter. There's no dialogue that connects to the original title, Ibulong Mo Sa Hangin. In what context was the title line uttered? Was it uttered at all? The English dialogues don't amplify enough why Amalia Fuentes won the Best Actress award from the FAMAS group. The make-up though was a knockout. The transfiguration of the evil Leonore to the good beautiful lady is a stunning one. I can't help but noticed the resemblance between Amalia Fuentes and Hilda Koronel. The film Blood of the Vampires is unfairly lumped along with so-called B-movies of our national artists, Gerardo de Leon and Eddie Romero. It is more than a mere horror chiller. The script, by Ben Feleo and Pierre L. Salas, alludes to the Philippines' colonial relationship to Spain. The Spanish mestizo Eduardo Escudero (Eddie Garcia) commands utmost obedience from his indio wife-slave. The blood-thirsty Escuderos, bearers of the shields, are vanquished not by sunlight but by a cataclysmic fire. The resource-sucking Spanish colonizers, caught up in a sweeping conflagration of war among nations, eventually succumbs to the United States of America. The odd mix of disparate elements make the movie a unique viewing experience. The mise-en-scene reminds me of Francisco Coching's detailed illustrations. The use of authentic dungeons, and eerie lighting effects add a creepy feel to the proceedings. There's also a tinge of incest in the affairs of the Escuderos. The English dubbing, though, sticks out like a festering wound. I almost forgot the reprehensible use of black-faced servants. Why the need to portray them as blacks? A recent news article has a Japanese web site ruing the loss of a Filipino-made film titled Batman Fights Dracula. If the film is as good as the Dolphy starrer James Batman, then indeed it is a quite a tragedy. Film buffs are left with no recourse but to look forlornly at the poster. Meanwhile, they can check out James Batman and Blood of the Vampires. The latter may not be a top-rate de Leon film but it is good enough to earn a slot in movie scare-athon plans this Halloween break.
Documentary films are getting noticed here in the Philippines and the rest of the world. The absorbing Senna, about the three-time Formula One champion Ayrton Senna, was a box-office hit in the United Kingdom. It was shown locally during Cine Europa Film Festival 2012. Give Up Tomorrow created quite a loud buzz at this year's Cinemalaya Film Festival that it got a theatrical run in October 2012.
Benito Bautista's Harana also made an impression during the Cinemalaya festival. Audiences, primed up by exposure to Youtube videos and concert/music films such as This Is It and Justin Bieber: Never Say Never, gravitated towards this film because it is stuffed with wonderful harana songs such as Dalagang Pilipina, Iniibig Kita, and Aking Bituin (O Ilaw). But, those songs are only as good as the ones singing them.
The documentary takes a look at balikbayan Florante Aguilar's search for the best of these haranistas. Aguilar, a classical guitarist oozing with musical chops just like his tukayos Freddie Aguilar and Florante, finds these masters of the lost art of serenade out in the field, along the river, and on the streets.
Every musical performance by the Harana Kings, composed of Aguilar, tricycle driver Felipe Alonzo, farmer Celestino Aniel, and fisherman Romeo Bergunio, is pure delight. There's a sincere feel to their direct, romantic declarations of love. You'll believe every word emanating from their hearts. Bereft of money to come in flashy cars or to buy expensive gifts, the three proletarian vocalists have only love to offer. They express this love with the help of a sturdy guitar.
If music be the food of love, play on
- William Shakespeare
There's a memorable segment in this lovely documentary. A young man named Bryan is heads over heels over a schoolmate. The girl seems to be in a relationship but he is adamant to profess his love. He seeks the help of a few surviving practitioners of harana, an old-school courtship ritual. The serenade pushes through, and there's a fantastic medium shot of a giddy Bryan. With soothing romantic lyrics in the air, his beaming face is full of bliss as he eyes the girl of his dreams. And the reaction of the girl? Let's just say that she is not used to getting this profuse attention showered on her. But, one thing's for certain, she won't forget this harana night and the Rapunzel feeling of being desired. Ang haba-haba ng buhok niya. Parang Rapunzel.
Our elders may be onto something with harana. They know the power of harana songs to tame any lady. With glorious voices emanating from outside the house, no woman can resist taking a peek by the window.
Buksan ang bintana
at ako'y dungawin Nang mapagtanto mo ang tunay kong pagdaing
After viewing this documentary, I visited the web site of Aguilar. I've learned valuable things about a proper harana song. Not every local love song out there is a harana song. There's a certain beat and structure of a harana song. The lyrics should also be reflective of the act of serenading. I'm glad that at least three previously unreleased harana songs were given valuable screen time in the doc. Even better, these songs were eventually recorded by the Harana Kings. Iniibig Kita has the potential to become a hit in the hands of a popular singer.
The documentary Harana has a strong middle portion. However, the book ends are not that good. The start showed various places but did not linger enough to show their relevance. I wasn't thrilled with the American Idol-style of showing horrendous performances. The time given to these performers should have been used in educating viewers about the differences of a harana song from a kundiman song. The end was not that elating, either. The stagy parting among the vocalists was not dramatic enough. The ending sort of rambled on and on. A concert scene or a recording session scene could have been perfect ending.
In the end, the emotional performances of the Harana Kings will remain with you. If you can't get enough of them, then grab a copy of the soundtrack, which is sadly the last album together of Alonzo, Bergunio, and Celestino Aniel. The latter died in September 2012.
For many of us who've closely monitored the Chiong sisters' rape-slay case in the 1990s, this documentary will shock and infuriate you. In just a matter of 95 minutes, the total running time of the doc, I've changed my stand that Francisco Juan Paco Larrañaga was guilty. All those years, I was led to believe that he participated in the murders of Marijoy and Jacqueline Chiong. I was wrong. Maybe you'll get to the same conclusion that Paco is innocent after viewing the must-see documentary by Michael Collins and Marty Syjuco.
Media played a big part in brainwashing my mind. It kept repeating lies such as Paco being an admirer of one of the sisters, and that he was one of those who threw a corpse down a cliff in Cebu in July 1997. The articles were accompanied with nonflattering pictures of the teenager and his 6 other co-accused. The documentary showed a newspaper clipping with a photo of Paco, which eerily recalls a close-up shot of a doomed chubby soldier in the film Full Metal Jacket. Paco was heavily demonized in words and pictures by the press back then. It had been 16 years since he was arrested and incarcerated, but Paco remains adamant of his innocence. There are dozens of witnesses willing to testify that he was in Manila on the day of the abduction. Constant acknowledgement of the truth keeps the young man in good spirits. He will not give up unlike the aforementioned young soldier who blasted his brains out. “If you wanna give up, give up tomorrow. Today, do what you can to survive.” Paco's survival mantra is fantastic advice to anyone facing adversities. But then, aren't most of the impoverished Filipinos already practicing that tactic of living one day at a time? Another important lesson from the documentary is to take with a grain of salt every news stories and sensational headlines. With the coming national elections next year, we need to be more critical of stories coming out from news media groups and the grapevine.
Wow! If the cooooool trailer whetted your appetite, then check out the coooooler film in its entirety.
The ravishing Tina Benitez (Andi Eigenmann) is a balikbayan planning to establish a restaurant and iron out chinks from her mysterious past. She has been away for two decades. With great haste, she spruces up the old family house into a serviceable one. House lights are working. The humongous refrigerator is humming and, yikes!, still observing surreptitiously not unlike the demented Hal computer from the film 2001: A Space Odyssey. Pridyider is based on a classic Shake Rattle & Roll episode directed by Ishmael Bernal. The premise of that short feature is that the refrigerator imbibes and acts out the evil thoughts of the house residents. The fridge becomes, among other things, a filthy pig, a lustful voyeur, and a vengeful killer. Ilarde's pridyider (refrigerator) is way more malevolent. It is a cursed portal to an infernal pit for lust/food gluttons. The film seems to target late night snacking (in the dining room and the bed room). Among the recent additions to the hell hole are two women who steal and feed on the love of another woman's husband, a stray black cat, and an obese thief who partakes of food in the ref. Tina finds a way to rid the refrigerator of the curse. With the help of her childhood friend, she descends courageously to the pit and plants an anti-curse bomb. Andi Eigenmann can give Solenn Heussaff a run for her money for meaty action/adventure roles. The former gave a surprising strong performance as Tina, a rashly daring woman in her mid-twenties. A flashback reveals how she took on bullies during her early grade school years. This kick-ass attitude served her well in her encounters with a mysterious figure and supernatural beings. I loved that she doesn't hesitate to confront stalkers. The way she handles the knife shows that she is her mother's daughter.
The film Pridyider is a lavish, sumptuous buffet of delicious performances, visual treats, and hearty chuckles. Ilarde outdid himself with this tongue-in-cheek chiller. Tiktik, watch out because this movie has a firm hold, tentacles and all, on the 'best horror film of the year' tag.
There's no Elvis Presley in here, but the film sure rocks!
Blending political scandals, social issues, and Akira Kurosawa's High and Low, the taut suspense thriller Graceland holds the audience in a vise-like grip. A poor chauffeur named Marlon Villar (Arnold Reyes) witnesses a kidnapping gone wrong. His little girl Elvie was abducted wrongly because she was wearing the school uniform of the real target, Sophia, her playmate and daughter of a big-time, wealthy politician. But, upon orders of the kidnappers, the hapless father tells the rich parents that Sophia had been kidnapped with a ransom of two million pesos. Reyes does a wonderful job of portraying a father trying his utmost best to save his daughter. Marlon Villar is at a loss on whether to tell the truth about the real fate of Sophia to her parents. However, he has to consider first the safe return of his own daughter, Elvie. Marlon must lie and act as if Sophia was alive and the one being held in captive. A determined police investigator squeezes details from Marlon. But, he can't get any headway because Elvie supports the story of her father. Lies and lies are piling up like uncollected trash at a garbage dump. The stinky story all started from the dirty deeds of congressman Manuel Chango, a pervert who devours preteen girls. The wasted look of the young prostitute at the cab unnerves you. There's a Travis Brickle and Howard Beale-like anger boiling in you. You can't take it anymore. Pu----I--N'yo... The grandma's cussing relieves you of pent-up anger. All the director need to do after that scene is to ensure that the bastards get what they deserve. Director Morales had a sure hand in this film project. He delicately tackled child prostitution. There's irony as two fathers try to save their daughters while the prostitutes, almost the same age as their kids, were treated like commodities by both fathers. The pacing and plot twists are that of a gripping, white-knuckle thriller. The inclusion of the shoplifting segment is a stroke of genius. Sophia, aping the behavior of her dad, corrupts her friend into doing a crime. The distinction between high and low classes gets blurred as seen in the mixed-up clothes of the girls. The monstrous political corruption, if left unchecked, will devour all of us.
In 1984, the big guns of local cinema exploited the
loosening hold of the Board of Censors, a fascistic arm of the Marcos regime.
Their movies begin hinting of the burgeoning yellow movement. Lino Brocka
collaborated with Pete Lacaba on their long-delayed film project, Bayan Ko: Kapit sa Patalim, which dealt with
striking factory workers. Mike de Leon’s Sister Stella L.broke the fourth wall with an enlightened nun
exhorting the people to go out on the streets and fight for their rights and
freedom.
Ishmael Bernal’s Working Girls has a trio of small scenes that may be seen as a
nod to the yellow fever engulfing the country. A friend of a sexy lady shopping
for clothes gently approves of her color choice (yellow), which he says is just
right for the times. The second scene shows another character alighting from a
tricycle. Prominently plastered in the vehicle’s windshield is a yellow sticker
with the words ‘Hindi Ka Nag-Iisa,’ a slogan coined by people seeking justice
for the death of former Senator Ninoy Aquino. The third scene shows a secretary
stripping pages from a telephone directory. The yellow pages will be shredded
and used as rally confetti. Those scenes may be too tame compared to the
heavily politicized scenes and in-your-face rally footages featured in the films
of Brocka and de Leon.
However, the hilarious, blockbuster hit Working Girls is notable for espousing the idea that a woman
can go places where no woman has gone before. The new Filipina can rise to
become a chairperson of a large bank or even assume the leadership of our
country. What a man can do, a woman can also do. As the film shows, women can
do it better.
The stunning and sensuous women of Working Girls are all denizens of Makati’s central business district. Carla
Asuncion, Isabel, and Suzanne work for Premium Bank. Amanda de Luna, Ann
Concio, and Rose belong to a professional management company. Nimfa is a
jewelry seller plying her wares to employees of the two offices. Most of them
are assertive and know what they want. They achieve their goals with dogged
determination and lots of cunning.
The film is recommended to people thinking of getting a job in Makati. It basically says 'no weaklings'
allowed here. The searing portrayal of office politics is still spot on even
today. Transport fare for airconditioned buses and dollar exchange rates may
have changed but the dreams, needs, and idiosyncracies of Makati-based female
workers haven't changed. Seductive secretaries prey on top male executives, who
gamely go along for the ride. These powerful executives utilize their money to
hide problems such as unwanted pregnancies and affairs with subordinates.
Married women are not immune from these playboys. Sometimes, lack of
appreciation from husbands lead these married women to have affairs.
Office gossip is not entirely a women's pastime and social weapon. Jealous and
envious men also indulge in gossips and backstabbing. A jilted suitor of Isabel
connives with his friends to spread unsavory rumors about Isabel. The pregnant
girl, given advice by her boss Carla, eventually learns to fight back. Her
restaurant vengeance act draws applause from fellow women employees.
Carla Asuncion has a hard time getting her objections taken seriously by the
male-dominated board of Premium Bank. The male directors laugh at her female
intuition. She gets downright dirty in getting evidence to support her
objections. In the end, she has the last laugh as she gets promoted as
chairwoman of the bank. It is interesting to note that Carla Asuncion's
initials are C.A.,
which can be an allusion to Corazon Aquino.
Some viewers back then must have begun entertaining the possibility of Cory
Aquino's ascension as the country's president. It is not an 'Impossible Dream,'
as what Nimfa is humming at the start of the film. There is no such thing as an
unbeatable foe. The Filipino people can win if they join forces to fight the
enemy. The 1984 films of Brocka, de Leon, and Bernal show that they were lots
of people (eg. striking workers, enlightened nuns, Makati girls) fighting the system. Two years
later, they did win by kicking out the Marcos regime in the 1986 Edsa People
Power Revolution.
Scriptwriter Pete Lacaba shared several anecdotes about Bayan Ko: Kapit sa Patalimduring the film’s October 2008 screening at the Dekada Cinemanila. The script for the brilliant film was the first one he showed to Lino Brocka after getting out of prison in the late 1970s. The two decided it was not the right time to rock the boat. Martial law was still enforced. They settled on making the less controversial Jaguar. After gaining some clout with the Cannes Festival participation of Jaguar, the duo hooked up with Toni Gonzales of Malaya Films to pursue the filming of Bayan Ko. Originally, the film was titled Kapit sa Patalim. But, with the increase in number of political rallies and demonstrations against President Ferdinand Marcos, the song Bayan Ko gained prominence. The filmmakers decided to use it as main title of their new film.
Ibon mang may layang lumipad,
Kulungin mo at pumipiglas,
Bayan pa kayang sakdal dilag
Ang di magnasang makaalpas!
- Bayan Ko -
Brocka utilized amazing footages of actual opposition rallies. The rallies were huge and the participants were really brave and passionate. Majority of the exuberant demonstrators were wearing yellow T-shirts with portraits of Ninoy. There were no traces of fear in their faces. As the Bayan Ko lyrics state, a subjugated bird will try its best to break free. The key word is 'pumipiglas' and not 'umiiyak.' The censors’ board eventually banned the public exhibition of Bayan Ko. The board used the flimsy excuse of nudity by Claudia Zobel to give the film an X rating. With the help of some foreign supporters, the film was smuggled out of the country. It soon earned wide critical acclaim overseas. It was chosen to compete for the Palme d’Or. It was selected as most outstanding film at the British Film Institute Award. More than two decades have passed but the film still evokes strong reaction from the audience. I was floored by the film’s strong statement against the regime of Marcos. Labor problems, health insurance woes, and the Ninoy Aquino assassination were the major issues brought out in the open by the film. Many of us can relate to the pharmacy scene wherein Turing Manalastas (Philip Salvador) bought only half of the prescribed medicines because of high prices. His pregnant wife is confined at the hospital. Faced with sky-high expenses, Turing takes part in a robbery. This is a top-tier Brocka film. It is better than the dated Brocka-Lacaba film, Jaguar. The dialogues are somewhat stilted in the latter film. Another good Brocka film that is anti-Marcos is Gumapang Ka Sa Lusak, which shows a Marcos-like couple wrecking havoc on a town they are governing. * Originally posted in a Xanga blog Re-posted in memory of the martyrs of Martial Law
Cine Adarna, UP Diliman, Quezon City (March 20, 2009) – Award-winning actress Vilma Santos and showbiz colleagues shared precious stories at a forum dealing with Mike de Leon's Sister Stella L. The reunion was part of the 25th anniversary celebration of the film. The seven forum panelists were Vilma, actress Laurice Guillen, scriptwriter Pete Lacaba, production designer Cesar Hernando, producer Mother Lily Monteverde, film critic Mario Hernando, and film academician Roland Tolentino. Mother Lily and Vilma narrated that they cried during the first showing day of the film in 1984. The film suffered a severe box-office beating by Sharon Cuneta's movie Bukas Luluhod ang mga Tala. The film of the Star for All Seasons was groveling in the dust. But 25 years later, Vilma's film is still the talk of the town and is rightly recognized as one of the best Filipino films of the 20th century. Roland Tolentino enumerated the three major reasons why the film is a gem of Philippine cinema. He noted the excellent acting by Vilma and the rest of the cast. Laurice Guillen remarked that she had to let go of her stage mannerisms in order to properly portray a nun. It remains a milestone in her acting career. A somewhat embarrassed Vilma admitted that she was clueless on the film’s message during the course of the shooting. Tolentino also highlighted the social realism of the film. Labor problems, persecution of media, and harassment of nuns were effectively portrayed in the film. A forum listener, Sister Rosario Battung, confirmed that her colleagues were stalked by military men during the Marcos regime. They were constantly harassed by the police and soldiers. A Kilusang Mayo Uno member said the film was always one of the films viewed at picket lines. Pete Lacaba butted in to say that hopefully the DVD copy was an original one. He also noted that media persecution got worse during the administration of President Gloria Macapagal Arroyo. Radio commentators and print journalists were being killed. The last one mentioned by Tolentino was the Brechtian ending. Sister Stella L was directly speaking to the audience. She was exhorting the people to take a stand against human rights abuses. Cesar Hernando confirmed that there was a different ending shown at the Venice Film Festival. The festival version showed the monologue by Sister Stella L. It was then followed by a shot of multitudes attending a huge anti-Marcos rally. The courageous film was instructing people to join anti-Marcos rallies!!! Mario Hernando said the likes of Sister Stella L may never be produced again. It was made during a time of intense patriotism among the Filipinos. Nowadays, love for country among Filipinos ranks way below love for family, love for career, and love for box-office money. Mother Lily shrugged off from doing more relevant films due to the film’s poor showing at the box office. It was a surprise then to hear Mother Lily saying that she plans to do another Sister Stella L during the forum. I had a blast seeing the eyes of the usually stoic Tolentino nearly pop out. Lacaba touched on the genesis of the script. Mon Isberto wrote a script on nuns involved in agrarian reform. The script metamorphosed into a Lacaba story dealing with an activist nun in the city. During pre-production, Lacaba begged off from editing the script. He was then working on the Kapit sa Patalim script. De Leon and Jose Almojuela were the ones who pruned Lacaba's script. Ellen Ongkeko added some dialogues. De Leon and his crew had an easy time shooting the film. Cesar Hernando said it was one of the easiest shoots of a de Leon film. The real reason may have been the professionalism and efficiency of the film crew. Vilma shared the story of how the crew worked into the night preparing for the next day’s shooting. She loves to work with de Leon again. She hopes de Leon will make more films. That is also the fervent wish of countless local film buffs.
******************************************* Film trivia: Sangandaan - Film producer Marichu Vera Perez found the original title of the film to be too serious and suggested Sister Stella L as title Sister Stella L - During research, Pete Lacaba interviewed several Stella Maris nuns. He decided to use Stella as the activist nuns' first name. The shortened surname was cribbed from Sophia Loren's film Lady L Republic Oil Factory - the setting for the fictional factory is a true factory owned by producer Mother Lily Monteverde Kung hindi tayo kikilos, sino ang kikilos? Kung hindi ngayon, kailan pa? - The immortal lines were coined by Ditto Sarmiento, editor-in-chief of The Collegian
*Originally posted in ‘The Persistence of Vision’ blog at http://cinefilipinas.blogspot.com Re-posted in remembrance of the martyrs of Martial Law
