Masaklaw ang abot-tanaw ng sine. Hindi lamang ito ang temang kinukulayan ng ideolohiya. Ang sine ay isang produksiyon ng karanasan at isang makulay na pagsaharaya ng tao sa sandali at lunan ng kasaysayan.
Achievements in film work is drawn not to forge a cannon of best works as underpinned by formalist considerations, but to pinpoint certain strategic transgressions and tactical countervailing in Third World cinematic practice and discourse.
Ang pelikula ay bisyong nagbibigay ng sensitibo at matalas na atensiyon sa presentasyon at representasyon upang sa proseso nito'y mabigyan ng bagong ayos ang mga posibilidad ng pelikula bilang isang progresibong sining at kulturang popular. Pinakikilos nito ang modo ng pagpapahayag ng pelikula sa reyalidad sa konteksto ng kakayahan nitong makipag-usap sa malawak na manonood at pukawin ang buhay ng publiko. Naaangkin ang institusyon at praktika ng sine para itaguyod ang kapangyarihan ng midyum at ang sulong na interes.
In the more instructive instances of Philippine melodrama, the family serves as the microcosm of the nation. At the center of I Love You, Mama I Love You, Papa (Regal Films) is Flora (Nora Aunor), a barrio girl who falls in love with Rommel (Christopher de Leon), the landowner's son. She attends to his every need and bears his child. For any actress, portraying the said role could be onerous. Not even a talent of reliable range can get away with it using the customary histrionics. Flora's character requires not only intuition but an understanding of the strains of human relationships in a setting beset by social class. Nora pursues it well, going beyond the comfortable limits and traipsing along the quivery alleys of the trade. Her performance is both touching and forceful, with a serene madness no other Filipino actress can muster. The choice frees her from the defiles of glamour. With Flora, Nora is vulnerable in her clamor, potent in her silence. In that house blessing party, Flora gets so intimidated by the hugeness of the place and was shown at a loss on how to react in front of Rommel's parents and their guests. It could have easily been a comical situation but instead, it pinches our hearts because we see the wide gap between the rich and poor in the scene. In I Love You, Mama, Nora plays one of her most complex roles. Flora takes to task the plight of a woman in love. How can she love someone so infantile? Why must she compromise her feelings in lieu of gratitude? Why does she long for her child's affection? Flora reveals the answers in scenes where she negotiates the various aspects of love, first with Rommel, where she willingly played the part of the fool, second with Gilbert (Joel Torre), her faithful suitor and third to her son, Ian (Ian Kristoffer de Leon). I Love You, Mama offers an unseen Nora spectrum. Frenzied in her first encounter with Rommel, rapturous with his touch and kiss, and inconsolable at the crash of maternal sentiment upon realizing that her son has been taken away and that she cannot do anything about it. We see the tenuous boundary of affectation not just through Nora's eyes but through her body and its gestures.
I Love You, Mama initially starts like a komiks novel, contriving the relationship between Flora and Rommel. It is an unlikely attraction at first, but inevitably torrid. With a screenplay whose plot stagnates and a direction that drowns in a misguided sense of melodrama, I Love You, Mama could've remained stranded in the realm of good intentions. It is Aunor who ends up outsmarting the very film rendered puerile by its filmmakers' inability to pursue the premise of their material to the fullest. Because of her, Christopher de Leon proves to be inevitable and Joel Torre's valiant effort becomes necessary. Nora and Christopher's real-life son Ian Kristoffer de Leon turns in a performance that shifts from endearing to hopeful and from confusion to enlightenment. Providing formidable support is Armida Siguion-Reyna's sense of urgency, which although brief is still a touchstone of thespic endurance. Caridad Sanchez gives a subtle and sometimes understated performance. There are many silent moments in her performance that shout inner tension making it all the more outstanding. It has to be mentioned that Jackie Lou Blanco as Agnes, Rommel's girlfriend is splendid and effective. I Love You, Mama's ultimate achievement is its ability to calibrate commensurate dramatic impulse in varying situations and dispositions within the family. There is nostalgia for traditional roles and the realization that ties are contingent but nevertheless intimate.