Mellow the Drama

I'm kindda nostalgic

Sanglaan is written and directed by Milo Sogueco whom I am reluctant to praise even though the technicalities are quite efficient and above par. The story is not really light. The heavy musical scoring is on the cusp of evoking urgent emotional environs even the drama has not taken place yet. But it is not only that, the situation is verging on the unlikable aspect of melodrama which I think was not intended by the film. In simpler terms, Sanglaan could be the damp squib of the competition due to a good casts of efficient actors.

Sanglaan is about the lives of the people that some way or another has an involvement in the pawnshop owned by the strict Olivia (Tessie Tomas). The assistant is Amy played by Ina Feleo. Other characters intermingling with the two are the old couple (Flor Salanga and Jess Evardone), a seaman played by Joem Bascon and Amy’s suitor Henry (Neil Ryan Sese). The little twist in the story is the love angle not between Amy and Henry but more on Amy’s stubborn fondness towards David, the prince charming turned seaman.

Since the cues I am hearing from the start of the film states that it is a melodrama, then don’t expect much on the humorous side from the comic Tessie Tomas. And do expect a lot of tissues getting wet as the story weaves through since it really is drama that you are watching. I am not complaining but the entire story lacks true urgency and has splattered aims for the individuals for the sake of getting through life’s harshest challenge. It’s baffling to me that most of the films (its the new trend) want to show a metaphor just for the sake of having one, but has no control of its intention.

There are lots to complain with the acting, except for Amy, who I think has the best character development in them all. Tomas is a wonderful actress but just like her performance in 100, the directors could have been too shy to guide her in the drama arena. She fails to shine in a way wherein she must go against the banality of melodramatic actors. Well aside from the fact that David is the long gone prince charming of Amy, his character lacks development. Flor Salanga goes over the top in most parts; she should have been guided with her acting approach. I think Sogueco has to balance both sides of the stream.

Sanglaan will surely inundate you with dried out tears. Despite having a well-made cinematography (bright), flawless camera works and other behind-the-scene aspect which makes up for its technical superiority, the film could not be at the same level with other better films in the competition. It is not even a good dramatic film. Sanglaan won two acting awards for Best Actress? (Ina Feleo) and Best Supporting Actress? (Tessie Tomas). Just like the jury who gave the awards, Sanglaan could not differentiate the appropriate melodramatic flavors to stand out in the dramatic category. And I prefer Tessie Tomas in the comedy genre wherein she shines all throughout.

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Charlie Koon's Rating:

A Stronger Foundation

Let's talk more often

Laya is not the carefree type of woman. She is a deconstruction of the female psyche. She thinks like a man and her principles are similar to men. This is how she is and has become. She confesses that her father sleeps with her when she was a child. Mangatyanan is the second film of the Camera Trilogy directed by Jerrold Tarog. The first film Confessional, I did not like. In fact, I was really insulted. It is not about the technique that I did not like. I just always consider stories to be crucial element in films. Mangatyanan made something exquisite. The mixture of our dying culture and the human condition are combined to exteriorize the frailties of our existence.

Why did I admire Mangatyanan and not Confessional? Confessional is pretentious. It was trendy during the time wherein most film enthusiasts are so frustrated with how our films have become. In effect, they have a high regard for brave filmmakers. But that was just a fad. Now, I think the majority of film aficionados could easily mock the brave. When filmmakers go back to the essence of film which is to tell meaningful stories, regardless of whether it is brave or candid, it will be praised for its ingenuity. Mangatyanan is an example. It definitely has a good story. It is about us. They talk about the people who are not merely fixated into life’s trivialities just for the heck of individualism. Now, we have a character that has the right to be who she is. The protagonist of the film, Laya Marquez played by Che Ramos has the bravura in extending certain aspects of humanity that is too soaring to be synthesized. It is hard to understand the courage of the principles she has acquired, but that is the blood of the film. This is the life that should flow into our own existence.

The mere fact that Jerrold Tarog’s name has registered into my memory, that a certain filmmaker has a recall could be very important. Tarog has definitely improved and has fused his technical expertise with a good story (Ramon Ukit). A trilogy in general has a common theme. They are not expected to be a continuation of the first or the second. Famous filmmakers have done this way of focused storytelling. Ingmar Bergman has made a trilogy that centers on a spiritual theme (Through a Glass Darkly — conquered certainty, Winter Light — penetrated certainty, The Silence — God's silence — the negative imprint). It is also same with a more contemporary approach by Alejandro González Iñárritu’s Death Trilogy (Amores Perros, 21 Grams and Babel). Tarog made use of the camera in order to base the commonality of the previous story with the recent one.

Laya is also suffering from an injury that now haunts her. His father Danilo played by Pen Medina is dying and her mother played by Irma Adlawan tries to patch things up. Laya resists without giving her reasons. She shuts herself from her ‘obligations’ and goes up quickly to Isabela for her job assignment. Little is told about her even with the insistence of her boss played by Neil Ryan Sese to open up. It is only in her conscience that we are introduced to Laya, a woman that tries to be normal for society’s sake but will never forgive a father who taught her what she is today. But the consistency of her courage will also have its toll. The tribe is headed by Mang Renato (Publio Briones III) who is very strict and devoted to the ritual. Through the ritual, Laya gets more bravery to face a daunting task to resist her own predilection.

Mangatyanan could still have the vibrant social commentaries relayed in Confessional. But in this one, it is more subdued in the context of political beliefs. Well, it is already in our blood to relate every aspect of our lives to the political arena. Mangatyanan on my perspective has deeply penetrated the harshness of our own beliefs. We have no right to human condemnation but we are reaffirmed by the task in hand which is to forgive. I have to say that most of the films in the Cinemalaya competition are really good. But Mangatyanan excels from the rest of the films in competition.
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Charlie Koon's Rating: