Timeless.
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:
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:
