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.
The campus scene has long been proven a sure foundation for getting laughs and Joey Gosiengfiao's Blue Jeans (Regal Films, Inc.) makes the most of teachers who terrorize, students who have no interest in studying and parents who think of education as an excuse to get rid of their children. The situations in the film are unfortunately familiar to anyone who has been to school. No education gets done in this educational institution. The laughs are provided by everyone in the cast, although special mention must be made of Celia Rodriguez who steals the show several times with her portrait of self-effacing actress Aurelia Amador. Similarly, Rosemarie Gil and Freddie Webb are delightful as Dina's parents, Mr. and Mrs. Guillen. Orestes Ojeda, despite a badly written role, is impressive as Tonypet, Dina's patient suitor. Even the Apo Hiking Society gets laughs without laughing. The intent of the film is clearly commercial. Gosiengfiao takes pains to give Alfie Anido ample screen time, with the most flattering camera angles. Being commercial is not a bad thing especially if the director is able to transcend exploitation. Blue Jeans does not attempt much, but it achieves what it attempts. The film is very well written. The language shifts from colegiala English technically known as pidgin English to straight urban poor Tagalog. There are a few mistakes, but none significant enough to lessen the writer's accomplishment. The situations are stock but what the writer does is what counts and he keeps surprising this viewer with provocative lines.
Blue Jeans is very well directed. Even the shots of Anido are organically incorporated in the film's visual continuity. The production design helps set the deliberately broad character of the comedy. The acting rises above the usual. Captivating is Margie Braza as Baby although she has to learn to use her face a bit more to express varying emotions. Dina Bonnevie is her usual brilliant self in her portrayal of Geraldine Guillen. Gosiengfiao could have made more use of her comic talents which she displayed magnificently in Schoolgirls (1982). Even Alfie Anido turns in a good performance as Joey Amador. This is surely a tribute to Gosiengfiao's coaching ability since Anido's previous screen appearances were not exactly memorable. Jenny Ramirez is marvelous as Laurice. Ramirez can combine verbal wit and body movement in such an effective comic way. It effectively bursts the stereotype of the haughty contravida. Only Joel Alano's Ralph is tentative in his characterization. Bernardo Bernardo and Behn Cervantes puts in great cameo performances. There are those who feel that commercial movies can never be memorable, who expects all films to say something profound about the human experience. That is like asking every college professor to have a Ph.D., asking everybody with a Ph.D. to publish a book and asking everybody who has published a book to be a genius. In other words, those who look down on commercial film set standards that they themselves can never reach. But if a film is both commercial and artistic, it should be cause for celebration even if it does not say very much. In Blue Jeans, Gosiengfiao has succeeded in making a commercial film without compromising his artistic integrity.