SARI-SARING SINENG PINOY

     Carlos Siguion-Reyna's Ikaw Pa Lang ang Minahal  (Reyna Films, 1992) demonstrates the filmmaker’s keen eye for composition as a means of enhancing his actors’ performances. The ornate home at the center of the film is befitting of the considerably successful Dr. Maximo Sevilla (Eddie Gutierrez). Yet the ample space left between objects in a room hints at a hollow, impersonal atmosphere that envelops Dr. Sevilla’s daughter, Adela (Maricel Soriano). Plain, naive and shy, Adela comes across as a woman so socially awkward and insecure that the coldness of the family home seems comforting compared to the world outside. Despite Adela’s shyness, the young woman does want to socialize and she accompanies her father one night to a party where she meets David Javier (Richard Gomez), a handsome but hard-up young man. If Adela’s array of nervous tics, widened eyes, reflexive but forced smiles alienate her from others, David’s magnetism is such that everyone is drawn to him. He takes a keen interest in Adela and effortlessly carries the conversation when she gets flustered and doesn’t know what to say. Soriano painstakingly captures Adela’s manic, disbelieving glee at seeing a man talk to her and in this moment, the camera moves more than it does for the remainder of Ikaw Pa Lang ang Minahal, not only in sync with the dancing at the party, but with Adela’s sudden rush of infatuation. David thoroughly charms her and even puts on a face of mock dejection. When he calls on Adela the next day, their courtship turns into an engagement in short order.

     Adela’s impending nuptials should be wonderful news for Dr. Sevilla who rejects the union on the grounds that no man as handsome and suave as David could possibly be interested in his dull, homely daughter and as such must simply want her for her inheritance. The disdain that Dr. Sevilla reveals for Adela shocks her to the core and to make matters worse, her father may be right about David. The dual blow of discovering that the men in her life see her largely as an object is shattering and if Siguion-Reyna’s mostly static compositions first communicated her introversion, slowly they come to reflect her abject misery. Some shots endure for so long that you can almost see as Adela’s sorrow and humiliation harden into bitterness in real time. Siguion-Reyna’s willingness to set up a shot with exacting formal precision, then cede prominence to the actors who move within the space of the frame, results in a multivalent study of not only the story’s characters, but of the markedly different styles of acting. Gutierrez portrays even Dr. Sevilla’s more subtle gestures of contemptuousness with the most theatrical of cadences. Elsewhere, Gomez’s facility with intoxicating yet repellent characters stresses the ambiguity of David’s devotion and the longer any of David’s scenes last, the harder it is to tell whether he’s manipulating Adela or genuinely interested in her. There’s even the character-actress bawdiness that Charito Solis brings to Paula, Adela’s widowed aunt whose genuine affection for her niece belies her own exploitative tendencies, as she lives vicariously through the younger woman’s romance. Then, of course, there’s Soriano. Here she upsets common expectations by pushing Adela’s innocence to parodic levels before shifting into a tragic-heroine mode worthy of Philippine cinema’s greatest depictions of emotional despair. Ikaw Pa Lang ang Minahal is mysterious when it comes to characters’ intentions, but it’s downright confrontational in the brutal impact of its protagonist’s struggle for social acceptance. The finale, in which Adela finally gains agency in her life only by consciously walling herself up in the very home that previously served as her cage, is an act of cruelty perpetuated as much against herself as those who wronged her.

     This new digital transfer was created in 2K resolution from a 35mm master negative. The results are quite pleasing, but not as stunning. The high-definition presentation is a tad light on grain, but diffuses clarity. Romeo Vitug's cinematography still looks great thanks to deep blacks that heighten detail levels and enhance depth. Close-ups appear sharp showcasing fine facial features. Shadow delineation is good no nicks, marks or scratches mar the source material. Though this rendering certainly outclasses previous home video transfer, it falls just short of expectations. The stereo track sounds quite good. Ryan Cayabyab's romantic score gives his music plenty of room to breathe on both the high and low end. Dialogue is clear and well prioritized while subtle atmospherics nicely caress the action. Ikaw Pa Lang ang Minahal is a quiet, intimate film and thankfully no age-related hiss, pops, or crackle intrude during pregnant pauses or whispered exchanges. Though the audio doesn’t make a statement, its seamless integration into the film’s fabric makes it all the more impressive. Ikaw Pa Lang ang Minahal focuses on a painfully shy spinster’s fraught relationships with two men, her brilliant, aloof, often critical father and a dashing suitor who may or may not be after her fortune. It's an absorbing and beautifully photographed film that examines delicate relationships with maturity and insight.

Sound Director: Gaudencio Barredo

Production Designer: Raymond Baharias

Music By: Ryan Cayabyab

Edited By: Jess Navarro

Photographed By: Romeo Vitug

Screenplay By: Raquel Villavicencio

Directed By: Carlos Siguion-Reyna