For all the romances the movies have given us, there are precious few that show two people gradually falling in love. Contemporary romantic comedies generally engineer a movie-long feud that builds to a climactic smooch, weepies go for insta-passion shorthand, the better to clear the way for whatever ludicrous tragedy its lovers have in store. And that makes sense as the realistic alternative with ardent feelings accumulating bit by bit over time, in a context devoid of manufactured conflict seems like it would be too politely dull to endure. All the same, that perfectly describes Olivia M. Lamasan's Minsan, Minahal Kita (Star Cinema, 2000). It's a beautiful star-crossed romance distinguished by an understated tone and perfectly modulated performances. Intelligent and refreshingly adult, the movie weaves a hypnotic spell as it tells the tale of two married people who develop a casual rapport and soon find themselves swept up in an unexpected and unwanted affair. Rarely has a film explored the spiritual side of love with such tenderness and perception and so successfully exuded the debilitating ache of unfulfilled longing.
Most importantly, it's the performances which make Minsan, Minahal Kita such an unforgettable film. Sharon Cuneta is extraordinary, conveying with great subtlety and pathos, the torment of a love affair that takes possession of her character. The sense of aching loss she shows towards the end of the film is so real, it is almost unbearable to watch, a naked spectacle of desolation and anguish. Richard Gomez complements her well, displaying a mix of quiet strength and delicate warmth that's utterly believable. Minsan, Minahal Kita fully registers the surging of emotion. It is because the social pressures and the genuine appeal of conformity are both so meticulously realized, that the desire to love against the grain comes across so powerfully. Far from lacking emotion, the film is throbbing with it, but also registering that emotion cannot be pinned down, summed up, that emotion is overwhelming. That is why Minsan, Minahal Kita is not only a lovely film, but a vibrantly good film.
The restoration work has produced very impressive results and the film looks spectacular in high-definition. Not only is depth and color stability substantially improved, but there are entire sections of the film where various small details have been revealed. Dirt and debris have been meticulously removed, leaving a clean image that allows us to fully invest ourselves in this heartbreaking tale. The audio treatment is very impressive. Clearly, during the restoration, various audio stabilizations have been performed while hiss, hum, clicks and pops have been removed as best as possible. As a result, the dialog is stable, crisp and easy to follow. This is another stellar effort that beautifully salutes this tender, uncertain romance.
Directed By: Olivia M. Lamasan
Screenplay: Ricky Lee, Olivia M. Lamasan
Director of Photography: Shayne Sarte-Clemente, FSC
Film Editor: George Jarlego
Production Design: Manny B. Morfe, PDGP
Musical Director: Archie Castillo
Sound Supervision: Ramon Reyes, STAMP
