FE, ESPERANZA, CARIDAD... Babae Sa Habang Panahon

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Fe, Esperanza, Caridad
Kuwento ng pag-ibig ang kasaysayan nina Fe Amor (Nora Aunor) at Tony Artiaga (Dindo Fernando) na naging mabuway sanhi ng tinatamasang tagumpay bilang aktres at mang-aawit ng babae. Di naglaon ay nalulong sa alak at sugal si Tony na unti-unting sumisira sa kasikatan ni Fe. Lampas sa isang kuwento ng pag-ibig, matagumpay na napagtagni-tagni sa pelikula ang mga isyung partikular sa sitwasyong domestiko ng mag-asawa. Madamdamin ang pilosopikong paglalahad nito tungkol sa pag-ibig, ang pagbabahagi ng sarili nang buo ang pagkatao. Sa ganitong pagkakataon, ang romantikong anggulo sa ugnayan ay nagkaroon ng reyalistikong dimensiyon sa pagpapahiwatig na sa pagmamahalan lamang nila matatamo ang kanilang kabuuan bilang mga tao. Kasiya-siyang kuwento ng karaniwang babaeng nakupot sa ambisyon at pagkabagot sa gawain ang kasaysayan ni Esperanza (Nora Aunor) hanggang sa makilala nito si Vic (Bert Leroy, Jr.), isang mayaman at makisig na binatang pinagseselosan ng nobyong si Domeng (Jay Ilagan). Sa payo ni Lola Maring (Rosa Aguirre) at tulong ng kapatid na si Boyet (Romy Lapuz), nagpakasal sina Domeng at Esperanza. Sa konteksto ng di-ganap at di-pantay na paglaya mula sa inekwalidad ng kasarian, iniwasan ng pelikula ang puti at itim na depiksyon ng martir na asawa, sa halip binigyan ng bagong imahe ang mga melodramatikong arketipong ito nang may sensitibong pagbatid sa panig ng babae na nagpapatampok sa halip na kumakalimot sa mga dimensiyon ng karanasang babae sa di-matatag at laging nagbabagong lupain ng ng domestisidad at domestikasyon.

Matingkad ang pagsasalarawan sa kasaysayan ni Caridad (Nora Aunor), isang madreng umiibig kay Rodrigo (Ronaldo Valdez), ang hardinero ng kumbento. Isinalarawan dito ang masalimuot na karanasan ng isang babaeng pinaglalabanan ang damdaming nahahati sa lalaking minamahal at pagpapahalaga sa paglilingkod sa Diyos. Nang matuklasan ni Caridad ang katotohanang si Rodrigo at Satanas ay iisang nilalang, nagsimula ang impyerno sa kanyang buhay. Bagaman nakaririmarim, ipinagpatuloy ni Caridad ang pakikitungo kay Rodrigo sa pag-asang makukumbinsi niya itong magbalik loob sa Panginoon. Epektibong nagamit ang mga tunog upang itampok ang mga prosesong nagaganap sa kamalayan ng nagdurusang madre. Madulas din ang pagdaloy ng mga eksena sa pamamagitan ng epektibo at simbolikong mga biswal at masisteng diyalogo na nakapghahanda sa mga manonood samantalang naghahatid din ng kapanabikan. Ayon sa pagkakaganap ay isinabalikat ni Nora Aunor ang buong bigat ng pasaning nakapaloob sa Fe, Esperanza, Caridad (Premiere Productions, Inc.) nang hindi nagpapahiwatig ng kabagutan, kundi ng isang kahirapan lamang sa uri ng pagganap na kumikilos, nag-iisip at malalim na umuunawa sa karanasan at nagnanais na hindi lamang basta ilipat ang dalahin kundi ibahagi ito bilang aspeto ng kolektibong krus. Nakakaantig ang marubdob na pagganap ni Ronaldo Valdez, samantalang katangi-tangi ang ipinamalas ni Jay Ilagan sa matimpi, matapang at puno ng pag-ibig na pagsasakarakter kay Domeng. At dramatikong isinakonkreto ng mahusay na pagganap ni Dindo Fernando ang proseso ng pagharap hindi lamang sa kanyang sariling mga satanas at pagdurusa kundi kasama na rin ang kanyang asawang nananatiling matatag. Samantalang ang mga kasaysayang ito ay mapaglarawan sa mga kagyat ng usaping pangkasarian, sa bandang huli'y higit na makabuluhan at nangingibabaw yaong nagbibigay kapangyarihan sa manonood sa pagpapamalas ng mga suliranin at kahinaan upang makapaglimi at pagkatapos ay nagpapatanaw sa lakas ng pananalig at pag-asa.

Direksiyon: Cirio H. Santiago, Lamberto V. Avellana At Gerardo de Leon
Dulang Pampelikula: Donato Valentin, Rino Bermudez, Ka Ikong, Jojo M. Lapus At Gerardo de Leon
Sinematograpiya: Justo Paulino At Ricardo David
Musika: Tito Sotto At Tito Arevalo
Editing: Ben Barcelon
Disenyo: Ben Otico
Produksiyon: Premiere Productions, Inc.
Release Date: May 10, 1974

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LILET: A Woman On The Verge Of A Nervous Breakdown

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Lilet
In a period when the form of anti-cinema seduces the audience, Lilet (Velarde & Associates Film Productions, Inc.) asks us to take it because it is relatively recognizable, and arguably the more accessible of the many films from the same genre. By accessibility, I am referring to the linear narrative of the film and should not be equated with something that is facile or plain. Such linearity, however, even makes the dimensions Lilet has recovered for us and reveals the many layers of storytelling that the well-wrought screenplay, because of its construction, is able to accomplish. Gerardo de Leon accomplishes what is difficult to accomplish, embedding the symbolic actions and processes of the film. No silted dialogues or contrived poses, just a storytelling that explores the many facets of patriarchy in our culture. The taboo of incest bedevils the family in Lilet. This is one peculiar family whose filial ties are veiled and intimated with disquieting vagueness at the film's inception. At the center is Lilet (Celia Rodriguez), isolated and withdrawn, barely clinging to her sanity. One day, as all tale goes, Lilet comes home and is greeted by her grandmother Doña Agueda (Tita Muñoz) and parents Anton (Vic Silayan) and Amanda (Paraluman). Lilet's tentative connection to reality is severed as she succumbs to paranoia not until she meets dashing young doctor Edgar Leynes (Ronaldo Valdez). The abyss of madness yawns before her, and into it she plunges, succumbing to nightmare visions of her dead brother Enrico (Lou Salvador, Jr.).

Using the simplest of resources, director Gerardo de Leon manages to convey Lilet's descent into madness, much of the imagery is memorably revolting or surreally disturbing. All the actors participate in this grand gothic opera. Proving that it is not only the narrative that is wrenchingly original but also the performances. Lilet possesses fine ensemble acting. Leading the pack are Celia Rodriguez, Vic Silayan, Paraluman, and Tita Muñoz, each one as arresting as the other. As the titular character, Rodriguez is altogether a different person in this film, she forms an emotional landscape all her own. When I watched the film, I really lapped up her inflection and body language. Rodriguez's characterization is effective and detailed, in a painful look, a longing stare. While it is the essential fluid of Vic Silayan's performance and passion specifically the bristling raillery between Anton and his mother, that distills. Love her or hate her, Paraluman's portrayal of a character that is terrifically nuanced even as the performance remains simple can be a source of fresh perspectives. Lilet has Tita Muñoz branding the screen with such heat that all logic wilts before her hardheaded matriarch. Unforgettable are those close-up shots of Muñoz. They are bare and if there are techniques in being bare, the fact that we do not see the techniques is even horrifying. In the relentless struggle between what an anthropologist describes as the realm of purity and danger, these performers know no fatigue. One sees the politics of this film and its writer, that we know and hide deep in ourselves are the evil and the good. And both are not within our control and both are embedded in our own quiet selves.

Directed By: Gerardo de Leon
Screenplay By: Pierre Salas
Director Of Photography: Justo Paulino
Music By: Tito Arevalo
Film Editor: Teofilo de Leon
Production Design: Danny Pantangco
Produced By: Velarde & Associates Film Productions, Inc.
Release Date: January 29, 1971

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Banishment In BEWARE BED SINS

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Bed Sins
If there's banishment in Beware Bed Sins, it is banishment from gender. Produced by Seiko Films, written by Frank Rivera and directed by Mario O'Hara, Bed Sins is perhaps the most shocking film of 1985 for its depiction of unabashed sexuality. It has audacity in tackling a very sensitive matter. The narrative starts with Carla played by Sarsi Emmanuel having sex with her clientele, mostly wealthy businessmen. Carla is a strong female character. As she deals with Max (Al Tantay), a man trying to shake off his past, she goes through a traumatic experience that changes her life completely. Bed Sins moves along by snaking into the memory of Wilma (Liza Lorena), a former prostitute turned religious fanatic. She is also being hunted by Johnny Boy (Joel Torre), a psychopath hot on her trail. Carla eventually falls into a relationship with Cesar (Rafael Roces), a detective sworn to protect her. In this passage from seduction to danger, death to renewal, the bold film redeems itself. 

Bed Sins is simple but its structure is made complicated with flashbacks throughout the movie. O'Hara's direction is highly commendable. To be able to make each and every actor perform credibly is a directorial feat. The editing is also brilliant. The ability to follow a complex story and make sense of it makes editing such a crucial element. Al Tantay is outstanding, his frustration is clearly and masterfully conveyed. The unraveling of character manifested by Sarsi Emmanuel's Carla, in fact can be very engaging. The film's good points fortunately outweigh its lapses. Still, Sarsi's complex portrayal of Carla redeems the otherwise unsympathetic nature of her character. Given Carla's many facets, it is a most challenging, difficult role, a great acting test for any performer and Sarsi passes it magnificently. While it is true that its cast, Sarsi Emmanuel and Brandy Ayala are packaged as bold stars, they hold out more than their anatomies for autopsy. Ayala performs very well given the parameters of the genre and is sincere in infusing life into a role that from the looks of it, she's familiar and sympathetic with. The film's stylish film noir techniques breathe energy into an otherwise turgid story. The dark, gothic lighting captures the film's perversity. Just as riveting and engaging as its texture is its rhythm which is almost stenographic in its movement and nervous in its flourishes. Complementing the film's consistency in visual design and pictorial motif is the highly plastic rendering of the unconscious, fears, nightmares as it intercepts the lived moments of waking reality. While Bed Sins may be suffused with decadence and to some extent cynicism, it somehow affords us a glimpse of redemption no matter how brief the reprieve.

Directed By: Mario O'Hara
Screenplay By: Frank Rivera
Based From Screenplay By: Amado Lacuesta, Jr.
Director Of Photography: Sergio Lobo
Music By: Jaime Fabregas
Editing: Efren Jarlego
Production Design: Frank Rivera
Produced By: Seiko Films, Inc.
Release Date: September 19, 1985

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Karapatang Magpalathala 2006-2013. SARI-SARING SINENG PINOY Lahat Ng Karapatan Ay Nakalaan. Disenyo Jojo Devera