Cracked Spines

Ageing Beauty

Brillante Mendoza’s Lola suddenly deviates from its two prologuishly structured films. It could be a shift from the omnipresent theory of Armando Lao in Serbis headed for the hybridized rendition of Kinatay. For now, it is Mendoza’s own predilection that pervades Lola. His prevailing love towards irony is quite evident even in his first feature film Masahista. Combining it with hardcore realism and synthetic thrills of the neo-noir genre, we have an incongruent truth that might seep into our own perceptions. Perhaps it is an intensifier, an exotic hors d'oeuvre that amuses the outsider, enough reason to be taken into custody.

The film starts with the camera stalking Aling Sepa (Anita Linda) along the dingy and nebulous streets of Manila. La Mancha has been ill-displaced in the area, known for its terrible gush of winds. Behold, Aling Sepa together with his grandson still attempts to light a candle. But what is it for? Why is she so eager to have it lighted with that kind of blustery weather? It was evident that after such a time of bonding with the old lady (she grows in me, the temporary stalker) that she is lamenting over the death of her other grandchild. Afterward we follow through where the wobbly old Sepa lives. She resides in a second-rate Venice, a surreal dead place that adds up to the unfathomable grief of their condition. It is possibly a metaphor, a slough of murky tears with sympathies that has been drowned and forgotten. And so they continue to live their stagnated lives in the new 'Smokey Mountain'.

Then we are introduced to another old lady named Aling Puring (Dr. Rustica Carpio), the grandmother of the robber who is now behind bars. Her instincts say that she will do everything and anything just to get her puerile grandson Mateo (Ketchup Eusebio) out of prison. An irrevocable love could explain it, keeping the family ties unscathed despite severe offense. A case settlement with the family of Aling Sepa is the only solution she sees and so she will shake heaven and earth just to achieve that.

I wish the actresses have switched roles and it could have been more challenging. It is hard to like Puring, a character that badly needs charisma for us to forgive her unconditional love. But despite the character flaws, we seem to be more concerned with how these two people deal with the reality based on Mendoza’s own perception. It could be the anatomical exploration of Lino Brocka’s core principles - a few might rebel. But the film in its basic essence is still amusing. You might be throwing it with mild accusations of exploitation which is in essence the type that sells on foreign shores. Lola has the qualities of a film that is better discussed by intellectuals than viewed by actual organisms.

Lola exhibits an expansion of what films are made on. It is really hard to believe a single truth as I always believe that we see through a glass darkly. They see and hear but still contradict the single truth offered to them. And in the end, no matter how foolish it becomes, there is still the truth of being a man. We suffer, cry, laugh and love but believing the truth will always be denied.

Charlie Koon's Rating:

Outright Confused

Timeless

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Manila is a film directed by Adolfo Alix Jr. and Raya Martin. This is actually a film tribute to Ishmael Bernal’s Manila by Night (City After Dark) and Lino Brocka’s Jaguar. I knew this was coming since most of our independent directors have their absolute and all-out praises for these two prominent filmmakers at a time when our film industry is soaring high. Last year, I had the chance to read interviews of Lino Brocka. They were very insightful and perhaps presented opportunities for curious people like me in having a glimpse of his intellect and predilections towards creating films. Based on that interview alone, Brocka might be displeased with this film.

Lino Brocka is known to be a perfectionist. If he does not like what he has made out of his film, he will make the first move to caution his comrades in watching it. In comparison to today’s generation, even if the film is downright sickening, most of them still have the audacity to promote their self importance. This is not about Alix and Martin as this is a direct admonition towards the broad-spectrum of filmmakers. Of course all filmmakers have their own principles. But I could not feel the inspiration that could have been passed over by Brocka or even Bernal towards our diversely influenced artists.

These filmmakers are really confused with their craft. I could now feel that they are more in tuned with creating a new era which they could call their own. And all of them are struggling to be the first. You will notice that with most of their outputs, something lies beyond which is their personal thirst for a larger achievement. Their revolution is of course spineless since they still carry on the mark of the past. Manila is a fair illustration of what they have in mind. If we will think outside of the box or the seemingly bigger idea of what films are, it is not just about being recognized as a post-modern form of artwork. The film is a direct implication of a budding era of films. I think it does not matter for Alix and Martin if the film fails or succeeds. What matters to them right now is if this could lead to their names being embellished in Philippine film history as the birth of the radical age.

Going back to the film Manila analyzed on a normal plane, I could call it the equivalent of Pop in terms of film. It has parody elements all throughout, they could never deny it. Upon seeing the ‘Night’ segment of the film which is directed by Raya Martin, I could not distinguish the artistic difference with the ‘Day’ segment directed by Adolfo Alix Jr. I don’t know who’s copying who nor is it intended that the film must be cohesive even on the artistic voice of the director. Despite the superiority the film has relayed in terms of cinematography, lighting, sound design and all those technical stuff, it has muddled merits that they covet to acquire. It is more of an excuse than a tribute.

Piolo Pascual’s endeavor in making this film might dissipate into thin air. At least there’s the consolation of being part of Cannes Film Festival this year – he’s glad having the laurel leaf in his film portfolio. His acting in both roles as the dirty junkie William and as the bodyguard Philip is not something that you’ll flip over with delight (maybe that was the point). I could hear his conscience saying, “Oh, this is great. I should play darker roles to showcase my bloody abilities as a great actor.” He looks conscious in most of his scenes trying to look subtle as much as possible, it led to superficiality. He should look back to his acting in the film Chopsuey for better acting tips from himself.

Manila has picked-up some pieces not necessarily to enhance the greatness of Brocka and Bernal but for the sake of their own greatness. The point of the story is not only to show the interrelating characters but also has convoluted intentions. If these filmmakers have the primal idea of what Brocka and Bernal’s films are all about, then they should throw away all hindsight. Films are not made only for the marginal few - a film clubby thing. I assume films will always be for everyone no matter how radical the idea is.


Charlie Koon's Rating:

Faux Blood Almighty

Promise, I'll visit you.

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I am actually covering my face in some scenes in the film Dalaw. For that, I have to apologize. To be honest, I am not really fond of watching scary films because I palpitate right away. It’s not because I am scared but more with the calculated horrifying apparitions that come up every now and then. Dalaw has a lot of it and most of it has no freaking logic. I think it’s not entirely new to Asian Horror film-maniacs since they are used to the careless shock approach. But if we will look carefully, it really has no congruency to the story.

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The story starts with Laarni (Katrina Halili) visiting an abandoned house. She is trying to make a fabulous documentary for the TV show ‘Ikatlong Mata’. After a few negotiations with the spirit to show up, she screams endlessly. After a few days, she is now in a state of shock and is in her sister’s (Matet de Leon) care. Her sister views the video footage and we are now introduced to the life of the ghost who is known as Estella. She shows some erratic behaviors and somewhat has a dual personality. She cares for his father like a husband. One day, her mother (Glydel Mercado) died after being slapped by his father (Tonton Gutierrez). A fatal slap, how scary is that. Guilty of the incident, his father locked Estella in the room before hanging himself.

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There are hints when Estella appears or when something gruesome might happen. When she is still alive, while having a severe pain in her menstruation, someone dies. There are local hearsays that ladies having menstruation will be visited by Estella. But the film incorporated this haphazardly. The ghost has really no purpose with all her emergence, whose prime aim is to scare the audience without solid connection to the scenarios. It appears to me that the particular ghost can appear to almost anyone as long as it is being recorded by the camera. She is just shocking but not really scary. The ghost is wearing a white gown wearing a pale make-up and semi-long wavy hair. And why is her mouth and eyes wide open by the way? Maybe they just want to scare without entirely conscious if the script is seamless or not.

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I have noticed in Joven Tan’s film that the cinematography is quite superior, helmed by Romy Vitug. This is also the case in his film Tutok. But both stories are sickening. Dalaw is too impulsive to shock. Even if they try to establish the scenes with the use of flashbacks, it lacks a sophisticated approach to make even the illogical things acceptable to the viewers. They have already tackled tell-tales and ghost legends so it’s really on their hands to infuse the story with more convincing contraptions. The character of Estella as a ghost has really lost a better purpose. Why is she appearing in awkward ways? Is she making revenge through scaring people? Oh please, we are not kids to be tricked. They have to dig to the core of her apparitions.

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Just like in the film, Laarni is inspired to create the documentary that she read from a tabloid. Writers also do the same thing. We get inspirations from headlines, shocking events and tragedies. We fuse more devices and create impossible scenarios and give logic to each scenario and character for it to appear as wholly credible. Dalaw lacks polishing and even its inspiration has no substance to make it more compelling.

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Charlie Koon's Rating:

Adela

Adela is one of the films in competition in the recently concluded Cinemanila Film Festival held in Gateway Mall. It is directed by Adolfo Alix Jr about Adela, a former radio personality, who celebrates her 80th birthday. She tries to treat it like a normal day- doing her daily chores and duties but she can’t hide her loneliness and how she longs for her family. Its casts include Anita Linda, Jason Abalos, Joem Bascon, Angeli Bayani, and Arnold Reyes. With special participation from Iza Calzado, Ricky Davao, Perla Bautista and German Moreno.

Adela has a special run at Indiesine of Robinson's Galleria from December 17-23, 2008.

Charlie Koon's Film Review of Adela

Charlie Koon's Rating:

Count Your Blessings

Screen Legend

The new trend that is being employed by some of the most flourishing directors and screenwriters in film is with the use of real time in terms of storytelling. Adela is one of those films which made it right. The story’s development is loaded with all those activities happening in a day. You will never doubt Adela’s energy to do all those things for her age. And yet, it adheres to the most essential elements of a film despite the time constraint. It’s good to know that the film was shot for seven days not really a day in Adela’s life. It might be physically impossible for an actress like Anita Linda to conform to the idea of real time. I don’t want to meddle with the theories behind it as it’s a different issue. What is important is Anita Linda’s performance with of course Adolfo Alix’s directing. Despite her age and the director’s idea of real time storytelling (usually happens in a day), Adela is one that I will never get tired of watching. It is simply because; Linda is magnificent!

Adela turns eighty years old. It seems another ordinary day to her life. She goes to the market. She prepares the ingredients for the pansit bihon (vermicelli noodle dish). She expects a visit from her daughter to celebrate her birthday with her. She goes to the church. She visits the grave of her husband. She also visits her son in the prison. And come back to her shanty and wait with much hope that somehow, something extraordinary is in store for her that day.

The shabby production design is apparently shot in the junkyard part of Manila. Despite its understated setting, the moment Linda simply passes by the area; it made the entire place enchanting. I am at a loss for words on how great her performance was. Linda is the very key to the success of this film and I have no doubt about it. Alix’s directing skills with a handful of films as his backup might have contributed a lot in bringing the best from Linda. If this has been done by a different director, I have this feeling that it would get messed up. And for the role of Adela, I have exactly the same precognition. It is quite tedious to demonstrate a wide range of emotions with subtlety and Linda has done it with style.

When I review Alix’s film, it certainly appears to be short. Adela is a story which transpires in a day. The simplistic nature of the film threatens to belie its profundity for the unseasoned viewer. No dramatizations, no histrionics, just the stark goings-on of an ordinary woman’s life. Precisely this is what Filipino films lack, brevity. Before, I really have doubts with their ideologies in its incorporation of real time for film perspective. I basically view real time as something theoretical in nature, and will possibly distort its own views. I felt that Alix has done a good task in this. I have a fair grasp of this supposed new trend in films.

Adela is Alix’s best work so far. After all, seeing a legend on the screen is one rare opportunity. Linda is simply stunning. Her past works might have not been very visible in our local theatres as well as in television. Adela is one film you will certainly be blessed to see a performance that requires a luminary presence and charisma. Anita Linda has such qualities.


Charlie Koon's Rating:

No Mercy

Little Drummer Boy

Tambolista is a film directed by Adolfo Alix Jr. It is dark, immoral, and brutal. It’s as if the lids of hell where left open showering humanity with evil deeds and grave purposes.

The main character is Jason (Jiro Manio). He dreams of having his own drum set. He lives in a filthy town in Manila. Despite being deprived of wealth, he is eager to be a drummer and saves money to buy his own drum set. But a sudden turn of events cajoled him to lend the money to his brother Billy (Coco Martin). Billy needs money for his girlfriend’s abortion. Flash-forward - the other character is Paolo, (Sid Lucero) a friend of Billy. He is a homeless hustler, a petty criminal. He used to reside with an old matron. But things changed when the husband returned. He was forced to leave the house. He suddenly asks Billy to stay in their house for a few days. He had known of the siblings need for money. He right away schemes a plan... plan that they will forever regret in life.

Black and white films are one of the best styles for me. It is blaring with beauty and it transcends firm mystery. And the film is noirish. Unfortunately this gets the least of my favor from Alix’s entire filmography. I remember the works of the talented Brocka and Bernal which elegantly captured the morbid situation of humanity. In comparison, Tambolista looks like a fragment from previous works. Its usage in contemporary films will lead to sheer retrogression.

Manio and Martin are established independent actors. They don’t fail to surprise and amaze me. Although I am not impressed with Lucero’s acting skills. Obvious enough, his character is so wicked; portraying it literally evil is so one-dimensional. Paolo is a fellow victim of inhumanity; so a little charm might help to perk up the role’s intricate personality. The veteran actress Anita Linda as the dominant grandmother is simply stunning. She curses every other word. It’s so rare to hear a well-respected actress in a disgraceful act.

Tambolista in the English language means drummer. I too, once liked to be a drummer. Drums were like the musical instrument of egotism. The execution of this instrument is crucial as this involves genuine skills to play it with ease. Lack of familiarity might lead only to aggravation of noise. Again, Tambolista is the least I like from the works of this promising Filipino director. But the fine acting is enough reason why you shouldn’t dare miss to see.

Charlie Koon's Rating: