Once Sara (Vilma Santos) and Eric (Ronaldo Valdez) meet, Karma (Sining Silangan, 1981) stumbles. Danny L. Zialcita and the cast never communicate what is so special about Sara and Eric’s love. On what level are the two connecting? All we know is that they are both attractive, involved with other people and like Elvis Presley's '60s version of It's Now or Never. We are essentially asked to accept their great love as a given simply because they are the leads in a romantic movie. When the two finally get to spend a day together, the film resorts to that most tired of romance movie clichés, the montage of the couple together outdoors. Zialcita shoots it all in soft focus, looking pleasant and romantic, but it feels like a lazy cheat, like Zialcita dodging having to write and show scenes of genuine bonding. As Eric, Valdez is sincere and that’s about it. There isn’t much for him to work with. Santos makes a better impression, she’s so beautiful and charming that it’s easy to imagine Eric wanting to be with her. She has some good moments in the early stages of the romance, displaying initial trepidation and caution which later gives way to an engaging sense of playfulness. Santos gets one of the film’s most memorable scenes, when Sara finally expresses her love for Eric. It’s one of the rare times a character speaks deeply from the heart. It successfully conveys the genuinely romantic tone most of the movie tries but fails to achieve and is a hint of what the film might have been. Chanda Romero works to bring shading to her role as Cristy, Eric's jealous wife but it’s all too obvious that she’s just there to be an obstacle for the lovers, a plot device in a natty suit and nothing more. Tommy Abuel has a more memorable turn as Sara's unforgiving husband Alfredo.
Even with the film’s obvious shortcomings, it’s not hard to understand Karma’s appeal. What romantic wouldn’t be drawn to a tale of a pure love that transcends time, of lovers overcoming overwhelming obstacles to be together? It’s an attractive fantasy and the film serves it up with likable stars, lovely settings and music that could tug at the heartstrings of the coldest cynic. The film is unapologetically old-fashioned, a rarity at the time it was released and even more unusual now. These things make Karma special and worth celebrating and its flaws easy to overlook. L’Immagine Ritrovata’s extensive restoration is a dramatic improvement over the Viva Video DVD. The disc featured a noisy, grainy, pan and scan transfer that did the film no favors. This HD digital release finally gives the movie a worthwhile home video presentation with a beautiful, crisp and colorful transfer that is significantly less grainy while retaining a natural-looking film texture. Certain scenes appear soft, but this accurately reflects Zialcita and cinematographer Felizardo Bailen’s selective use of diffusion filters and is not a flaw of the transfer. The 2.0 audio won’t blow away anyone’s speakers, but the track is clear with good range and Gilbert Gregorio’s score comes across well in the mix. Although the film itself may be flawed, this is a superior high definition release that is highly recommended for incurable romantics.
Film Editor: Enrique Jarlego Sr.
Cinematographer: Felizardo Bailen
Music By: Gilbert Gregorio
Screenplay By: Danny L. Zialcita
Direction: Danny L. Zialcita
