SARI-SARING SINENG PINOY

I Love You, Mama I Love You, Papa 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. Direction: Maryo J. de los Reyes Screenplay: Jake Tordesillas Cinematography: Rody Lacap Music: Willy Cruz Editing: Edgardo Vinarao Production Design: Elmer Manapul Produced By: Regal Films Release Date: May 29, 1986

The Road

Ang pangunahing elemento ng sineng katatakutan ay ang paninindak na lumilikha ng takot, hilakbo o pangamba. Ang pelikulang The Road (GMA Films) ay kumbinasyon ng iba't-ibang anyo o genre, straight horror, drama horror at psycho-drama. Pinapaksa sa pelikula ang daan tungo sa sikolohiya ng tauhang ginampanan nina TJ Trinidad, Alden Richards at Renz Valerio at ang epekto sa kamalayan o kaisipan ng sikolohiyang ito. Ang hinuhulmang sindak ng The Road ay tungkol sa mahiwagang lugar na nagdulot ng kapahamakan sa limang kabataan. May tatlong yugto ang pelikula, ang lahat ay nagtatapos sa kamatayan. Ang istorya sa unang yugto ay ang pakikipag-ugnayan ng mga kaluluwang gumagala kina Brian (Derrick Monasterio), Janine (Lexi Fernandez) at Ella (Barbie Forteza) na naghahanap ng katarungan na kailangang ipagpatuloy sa mundo ng tao. Ang papel nina Rhian Ramos (Lara) at Louise delos Reyes (Joy) sa ikalawang yugto bilang mga biktima ni Luis (Richards) ay naghatid ng hilakbot at pangamba dahil sa malalim na pagbabanghay ng katauhan ni Luis sa pamamagitan ng masinop na rendisyong sinematiko ng mga pangyayari. Mahusay ang artikulasyon ng dahas na nanunuot sa kanyang mental na reyalidad na huhulagpos sa dahan-dahan nitong rebelasyon ng itinatagong krimen. Sa huling yugto, itinanghal ang kaganapan sa buhay ng isang batang lalaking (Valerio) may matinding takot sa dominante niyang inang si Carmela (Carmina Villaroel), gaano man ito kamahal ng kanyang relihiyosong ama (Marvin Agustin). Ang resolusyong kamatayan ay isang parametrong nagkahon sa anumang pagtatangkang maigpawan ang daan tungo sa dapat baguhing dahas ng kasalukuyan.

Isang bagay na dapat pagtuunan ng pansin sa sineng katatakutan ay hindi ang paraan ng pananakot, kundi ang sistema ng pagpapakahulugan sa konsepto at praktika ng takot at sindak. Nagawa ng pelikulang lambungan ng misteryo ang daloy ng mga pangyayari sa binuong ugnayan ng tatlong kasaysayang pumapaksa tungo sa pagsisiwalat sa katauhan ni Special Investigator Medina (Trinidad). Sa katunayan, hindi lamang sa sineng katatakutan mailalapat ang ganitong pananaw. Ang buong sine, Pilipino man o dayuhan ay paglikha ng representasyon ng reyalidad, hiwaga, takot at sindak. Dito pumapasok ang representasyon bilang diskursibong paglikha ng takot at kahulugan ng pananakot.  At habang nagiging kumplikado ang tunggalian, nahawakan ng pelikula ang pananabik ng manonood bunga ng maingat na editing, malikhaing sinematograpiya at ensemble na pagganap hanggang maipamalay sa wakas ng istorya ang relasyon ng tao sa elementong di-nakikita, dahil sa ganitong ugnayan hinuhubog ang operasyon ng takot at sindak, at pananakot at paninindak sa mundo.

Direksiyon: Yam Laranas
Dulang Pampelikula: Aloy Adlawan At Yam Laranas
Sinematograpiya: Yam Laranas
Musika: Johan Soderqvist
Editing: Mae Carzon At Yam Laranas
Disenyo: Joey Luna
Produksiyon: GMA Films
Philippine Release Date: November 30, 2011
US Release Date: May 11, 2012 Through Freestyle Releasing

Panakip-Butas

At the outset, Panakip-Butas (Regal Films, Inc.) seemed to have succeeded in its light-hearted summoning of the unconventional pairing between two unlikely people but gradually failed in constructing a vigorous frame of values underlying such relationships. Falling into the trap of characterization weak at that, the film tentatively skimmed the contexts that give rise to these relationships and ultimately lost the potential inherent in romantic comedy to negotiate and respond dynamically to the issues and preoccupations of its times. In turns hilarious and sentimental, Panakip-Butas started with promise. Honesta's (Nora Aunor) antics were heart-warming and funny but wore off by the time the film reached its mid-hour stride. Alexander (Hajji Alejandro) is a singer whose vulnerability is cushioned by his fans' adoring presence. His skeptical attitude to romantic relationships is his armor. Alexander, after all, won't be subject to the demands of a romantic attachment. Honesta, on the other hand faces her hurdles with humor, weighing her dilemmas with pensive introspection. But when we find Honesta and Alexander in conversations grappling with their predicaments, why do they seem unconvincing?

Director Romy Suzara wisely centers Panakip-Butas around Hajji Alejandro's songs. Alejandro's strong voice makes up for the film's weakness. The songs, in other words, make the film worth watching. No one seriously expects Hajji Alejandro to be a great actor. Thus, I wasn't disappointed with the level of acting he manages throughout the film. Limiting himself to thoughtful facial expressions, Alejandro lends a certain credibility to his role, a womanizing singer obsessed with his career. Nevertheless, it should be pointed out that with a more experienced actor, the role could have been played with more warmth, vitality and humor. Instead of merely being serious all the time, another actor could have created a full person, not just a singer. Nora Aunor fills out the character of Honesta convincingly, in turns adept as the matter-of-fact wryly humorous president of Alexander's fan club. The supporting performances are strong, as expected of a Suzara film. Trixia Gomez steals the show several times with her light-hearted portrait of Chona, Alexander's overzealous girlfriend.  She is particularly effective because she never allows herself to overdo her role. Similarly, Sandy Garcia is delightful as Andre, Alexander's assistant and confidante, especially in the earlier sequences. Brenda del Rio, despite a badly written role is impressive as the unpredictable Melinda. The final scene when Honesta and Alexander sang to each other in a manner fit for a love team's promotional duet in a weekend variety show sealed the film's fate. Much like Alexander, we waver between love and commitment but choose neither and bemoan the end of what may have been a potentially instructive romantic comedy.

Directed By: Romy Suzara
Screenplay: Toto Belano
Cinematography: Arnold Alvaro
Music: Ernani Cuenco
Film Editor: Ike Jarlego, Jr.
Produced By: Regal Films, Inc.
Release Date: August 12, 1977
Panakip Butas theme song performed by Hajji Alejandro

Lucia

Pamilyar na sa mga manonood kung paano karaniwang tinatalakay ang isyu ng kahirapan sa mga pelikula. Sa pamamagitan ng mga imahe ng gutom, pagtaas ng populasyon, polusyon sa kapaligiran, sakit, kawalan ng hanapbuhay, at iba pang mga larawan ng lunggati, binigyang-katuturan ng ilang mga pelikula ang kahulugan ng dahop na pamumuhay. Sa usaping ito uminog ang diskurso ng pelikulang Lucia (Manila Inter-Film / BBC) ni Mel Chionglo hinggil sa pigil na partisipasyon at pagkatiwalag sa lipunan ng mga tauhan, bilang mga salik na tagapagpaandar ng kahirapan.  Sa pelikula, lumampas pa sa mga nakasanayang imahe ng paghihikahos ang ginawa ng direktor upang makapaghulma at maitanghal ang kaibuturan ng isyu. Ang kahirapan, sang-ayon sa mga pinagdaanan ng pangunahing karakter na si Lucia (Lolita Rodriguez), ay kasingkahulugan ng pagiging talunan, ng kawalan ng akses sa anumang oportunidad, at ng hungkag na pakikisangkot sa anumang larangan. At ang patuloy na pagkonsumo nito sa indibidwal ay humantong sa destruksyon ng sarili. Mahalaga ang pelikula dahil sa mabisa nitong artikulasyon hinggil sa kawalan ng makabuluhang ambag sa lipunan bilang isa sa mga pangunahing tagapagtakda ng karalitaan. Ang linsad na kapalaran ni Lucia ay pinatingkad pa ng indibidwal na naratibo ng mga kasamang tauhan sa pelikula. Mabisa ang pagkatugaygay sa karanasan ng mga karakter na may kani-kaniya ring kuwento ng nakalundong kalagayan. Itinawid nina Chedeng (Gina Alajar), Cynthia (Suzette Ranillo), Pablo (Mario Escudero), at Julius (Lorenzo Mara) ang pagiging biktima ng kahirapan, pagkalubog sa utang, ang pagkakasya sa maliit na kita bilang mangingisda, at ang uri ng buhay na tanging sa inuman lamang maaaring makapagsiwalat ng mga tanong at himutok. Sa mga tauhang ito rin umangkas ang pesimistikong panukalang nagdiin hinggil sa direksyong pupuntahan ng kuwento ni Lucia, at ng kuwento nilang lahat.


Binalangkas din sa pelikula ang gradasyon ng emosyonal na kalagayan ng pangunahing tauhan, na rurok ng karalitaang nakalukob dito. Nagsanib din sa paningin ni Lucia ang tatlong tauhang senyal din ng destruksyon ng karakter. Magkakaugnay, bagaman may malinaw na distinksyon, ang bukod-tanging pagtatanghal nina Elvira Baldomero bilang Jenny ang anak na prostitute, Jonathan Darca bilang Abdon ang masinop na estudyante at mula sa tauhang ginampanan ni Aurelio Estrada bilang obheto ng halu-halong kahinaan at kasawian ni Lucia sa pelikula. Sa unang pagkakataon sa pelikula, saka lamang tila naisangkot si Lucia sa iba pang indibidwal bukod sa mga kaanak at saka lamang siya pinakinggan nang hawak na niya ang pagkakataong lumikha ng diskursong oposisyonal na tumuligsa sa makitid na kamalayang bumubusal sa pagkatao ng tao at nakikiisa sa paghawan sa posibilidad ng alternatibong larangan ng makatao at makatuturang pamumuhay. Tila nangangako ang eksena, at ang posisyong kanyang kinalagyan, na sa unang pagkakataon ay mukhang naglarawan ng pag-iral ng kanyang kontrol at kakayahan si Lucia. Ang punto ng isyu ng kakayahan ay paglaan ng mga pangako at posibilidad, ng pagtalunton sa potensyal ng tao sa pag-unlad ng sarili at pagbahagi nito sa lipunan at pagpapalawak ng kanyang mga opsiyon upang maiangat, sa isang multi-dimensyonal na antas, ang kaniyang kalidad ng buhay. Subalit ang katotohanang taglay na kasalukuyan ding nakabalabal sa lipunan, at matagumpay na ipinabatid batay sa konteksto at kalagayan ng iba’t ibang tauhan, institusyon at sosyo-kultural na praktis sa pelikula ay lihis sa anumang akto ng pagpailanlang. Hindi luwang ang sinasambit ng mga imahe bagkus, ito'y restriksyon at walang humpay na pagtatakda ng mga hangganan.