Ang Larawan (Loy Arcenas, Metro Manila Film Festival 2017 Best Picture)

Ang Larawan is a thing of beauty. Lavished with care by a group of passionate artists, the film exudes an aura of grace and poise. There's nothing artsy-fartsy with this film. All elements are of the right amount. The cinematography emits a force field-type of mist that seemingly protects the Marasigan siblings from a fast-changing world.

Candida and Paula Marasigan, both middle-aged spinsters, are experiencing a crisis. Bills are piling up because they have not received their monthly allowances from elder siblings. A boarder, Tony Javier, suggests a solution to their monetary problem.

Tony convinces the sisters to part with the recent masterwork of their father, Don Lorenzo Marasigan. He has an American buyer ready to purchase the painting for a handsome price of $10,000 or roughly PHP 20,000. That is huge money back then in the 1930s. Rebuffed by Candida, Tony works out a scheme to get his hands on the painting.

Ang Larawan will be compared not only to the different adaptations of Nick Joaquin's play A Portrait of the Artist as Filipino but also to Arcenas' standout debut film Niño. The latter is a Citizen Kane-like story of the decline of a once-mighty and illustrious oligarch family, the Lopez-Aranzas.

The Marasigans, like the Lopez-Aranzas, used to hold weekly parties attended by aristocrats, artists, and statesmen. However, the throngs of guests slowly dwindle as years go by.

Now, when visitors drop by at the Marasigan house, their purpose is to see the lone existing masterpiece of Juan Luna's contemporary. The other remaining paintings of Don Marasigan are exhibited in museums outside the Philippines. A visiting Senator asks Paula to convince her elder sister Candida to donate the painting to the government. In return, a trust fund will be created for the two sisters. Once again, Candida rejects the offer of their family friend.

A memorable funny segment for me is when Paula asks Candida if she is crying. The reply by Candida is perfect comedic timing.

Arcenas combines the different ways adaptations depict the painting. In theater plays, the portrait is hung on an imaginary 'fourth wall.' In the film by Lamberto Avellana, the details of the painting are clearly shown. The Avellana painting shows a young man carrying an old man on his back. The burning city of Troy is shown behind them. The piercing, sad eyes of the two persons have the power to unsettle the viewer.

In Ang Larawan, the painting is barely seen but the painting layout is similar to the one shown in the Avellana film version. I expect the eyes of the two persons to have similar unnerving effect of racking up guilt.

What I like about this Arcenas adaptation is its focus on conscience pricking. Paula and Candida associate themselves with the young man in the painting. They were the reason behind the accident involving their father. They are now responsible for their bed-ridden father. He is their cross to bear.

Manolo and Pepang, elder siblings of Paula and Candida, plan to sell their house. The house reminds them of their wanton spending and disregard for the welfare of the spinsters and their father.

The film also pricks the conscience of moviegoers. The film asks: Do we still remember and follow the good traditions of old? Do we still sing and dance? Or, have we imprisoned and dampened our passion for poetry, singing, dancing, and the visual arts?

Ang Larawan, along with Disney's Coco, are glorious reminders of the importance of family and getting in touch with the past. Both films depict perfectly Nick Joaquin's vocation of remembering and singing. 

Niño (2011, Loy Arcenas)

Veteran theatre personality Loy Arcenas surprised everybody with his dazzling film debut, Niño. While working on a theatre play years ago, he saw the young people's enthusiasm and fascination for Cinemalaya films during that year's festival. Arcenas endeavored to make his own and ultimately took the dare to join Cinemalaya. He learned so many things from his six months of making Niño and vows to use those lessons in making another film. Yes, sir. Please do make another film. Your Niño is a welcome respite from poverty porn films.

The must-see film tackles the foibles of the haughty rich clan of the Lopez-Aranzas. The Lopez-Aranza siblings are some sort of royals. The ‘Three Kings’ are the following: Gaspar (Tony Mabesa) is a former political kingpin who lost a lot of money and power when he sided with Emmanuel Pelaez in the 1964 Nacionalista Party convention. His sibling, Melchor, died a long time ago with no heirs. Celia is the female Balthazar. She used to be a queen of Philippine opera.

Their residence home, Villa Reyes los Magos, is a sprawling property that has lost its luster. It used to be the meeting place of mighty politicians and wealthy people. Even Prince Alfonso of Bourbon was once a former guest. But, with the ebbing of political tides the high-profile visitors ceased to come. The residents slowly adjust to less luxurious lifestyle. Celia (Fides Cuyugan-Asensio) earns a little by offering singing lessons. The family members also resort to accepting boarders in order to stretch the household budget.

Gaspar’s hospitalization and subsequent descent into a comatose state trigger the return of his United States-based daughter, Raquel (Raquel Villavicencio). Every one at the humongous mansion is kept on tenterhooks waiting for her next move. Celia, who has sold her share of the mansion, worries about being evicted from the illustrious residence. Merced (Shamaine Centenera-Buencamino) and her lover Katherine foresee the impending end to their affair. The cash-strapped Mombic (Arthur Acuña) is the only one pushing for the sale of the property. He charms Raquel into having dinner with his realtor friend.

Jhiz Deocareza and the Butterfly

Now, you may be wondering what is the role of the boy garbed in a Santo Niño outfit? His name is Antony and he is the son of Mombic. His grandmother Celia believes he is the key to making Gaspar well again. But, Antony is no superhero like Ben 10 nor is he as miraculous as the Santo Niño. Sensing the dying moments of Gaspar, Celia accepts her fate and runs to the balcony. She takes a last look at the gardens that decades ago teemed with roses, sampaguitas, rosals, mangoes, and chicos. She will soon flit away but her grandson Antony will forever remember her as a majestic butterfly with the fragrant smell of jasmine.

Arcenas utilized his clout to gather a wonderful cast. From the veteran performers to the child actor, every one gave their best. Centenera-Buencamino and Acuña won acting nods from the Cinemalaya 2011 film festival jury. Arcenas is truly an actors’ director. He was responsible for bringing Che Ramos her first award for the excellent play Tatlong Mariya. That play, along with the film, was a result of his collaboration with Rody Vera.

I’m not raising Kane here, but 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. The little boy’s witty description of his aunt Merced as having the smell of a closet is pure genius. (Closet lesbian?  Got it?).The stripping away of secrets is well-paced and adds layer to characterizations. And, who can forget the hilarious ‘paabot nga ng patis’ line by Celia?

Niño have been compared to the play Portrait of an Artist as a Filipino and the film Oro Plata Mata. But, have you seen the similarities to Citizen Kane? Check out the following: jaw-dropping first-rate film debut; utilization of the best theatre people; and story plots about a grand politician’s loss of power and a grand family/mansion’s decay. There are atrocious opera singing scenes in both films.

Where’s the Rosebud in the local film? It vanished when the typhoon winds destroyed the floral gardens. The innocence and child-like naivety of Gaspar was shattered when Ferdinand Marcos stole the Nacionalista Party’s presidential slot in the 1964. Real life oligarch families such as the Lopezes then suffered at the hands of the Marcos regime. It should be noted that in Citizen Kane the presidential slot was also taken away from the hands of Charles Foster Kane.

Niño should be seen more than once for it contains layers and layers of symbolisms. Check out other reviews for references to stage plays.


*****
Related link/s:
Chat with members of the cast (inquirer.net)


Niño wins top prize at Busan (inquirer.net)