Bayan Ko: Kapit Sa Patalim (Lino Brocka, 1984)

Scriptwriter Pete Lacaba shared several anecdotes about Bayan Ko: Kapit sa Patalim during 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

Forum on Mike de Leon's Sister Stella L.

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.

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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 

Sister Stella L (1984, Mike de Leon)

The original title of this award-winning film was Sangandaan (Crossroads). Producer Marichu Vera Perez found it to be too serious and suggested 'Sister Stella L' as title. That suggestion was a stroke of genius.

The current title evokes many images. I associate the title with a nun raising the Laban (Fight) sign. The word 'Laban' is what the letter L means to me. The film themes are bravery, power of the masses, and fighting for human rights. Those traits can also be found in the people involved in the film.

Enigmatic director Mike de Leon has always been known as a risk taker. He pushed for 'Itim' as title of his debut film. The film might have ended a flop at the Metro Manila Film Festival but it is still a stunning first film. He also questioned martial law rule in Batch ’81. It was no surprise then that he would pursue a more political film after the assassination of Ninoy Aquino. But, the stars must be aligned too.

The murder of Ninoy led to mass protests and a more relaxed censorship atmosphere. Mother Lily bravely took the option of producing Sister Stella L. Meanwhile, Vilma Santos was tired of portraying liberated women. She fought for the role of an activist nun. She begged Mother Lily to give her the role.

The original script by Pete Lacaba was voluminous. He excused himself with the pruning of the script because he was then working on Bayan Ko: Kapit sa Patalim. De Leon and Jose Almojuela did the job of shortening the script. Ellen Ongkeko added some dialogues.

Lacaba noted during the 2008 Active Vista Film Festival that de Leon found the Vilma film dated. The reclusive director preferred the showing of the magnificent documentary film Signos in lieu of Sister Stella L. While the former may have more bite, the Vilma starrer is still a highly relevant film and a true classic.

Mother Lily and Vilma Santos at the 25th anniversary forum

Rightly acknowledged as a gem of Philippine cinema by film critics in a March 20, 2009 forum, the film dealt with labor problems, persecution of media, and harassment of religious people. Those problems are still with us. Some critics comment on the failure of the film to expound on the events leading to the strike. I think the Brechtian film is telling the viewers to seek out the answers in the real world.

Immersion and social action is what the film is pushing for. The classic ending employed the 'breaking the fourth wall' technique. Sister Stella L is directly talking to the audience. She exhorts people to come out in the streets and fight for their rights. She ended her spiel with
"Kung hindi tayo kikilos, sino'ng kikilos? Kung hindi ngayon, kailan pa?"