Take a bow
I think the point of the film Nandito Ako... Nagmamahal Sa’yo is that if two people look good together, it is ridiculous not to end it that way. I know that in romance, there is love. And possibly, the two will unite in the end no matter how ridiculous the conflicts arise within the story. Although in William Wyler’s Roman Holiday, it is an open ending. It is Audrey Hepburn’s first film that widely establishes her as an actress. It seems that the material they have used to amplify the increasing popularity of this love pair is risky but its risks made its story’s heart beat palpitate irregularly. I think the screenplay needs a doctor.
I seldom watch television so I only know the actors through films that are being shown. At least I had been familiar with the two leads for their first film appearance is last year’s Loving You. It is a four-segment kind of romantic tale that gives focus to call center agents. I remember praising Kris Bernal for her role in the film saying – She is bubbly, witty, charming and consistent. But I questioned Aljur Abrenica’s supposedly strength to be recognized as a dramatic actor. He is common in my eyes and actors sometimes need to be distinctive. Nevertheless, Aljur Abrenica is taking the lead of this film which is quite alien if you will surrender to my candid opinion that romantic films are more fervently focused with women.
Abrenica plays the role of Tata, a young teenage boy who grows only with his mother in the frenzied streets of Quiapo Manila. He wants to finish his studies as a seaman but his mother Aida (Ana Capri) deals with a sickness that hampers his yearning to study once more. Aida makes a hasty decision to go back to Tagbilaran Bohol with Tata. One day, they visited a residence and a secret was revealed with the identity of Tata’s real father.
Conflicts make the story more credulous with its substance as well as the believability of the love that is tested by different factors. But if these are not mounted well, the coherence or the flow of the story is now being undervalued. Why do we need to hurry with the love aspect if there is the intention to make blocks in between? It is time to have a progressive love story that gives values to the devices being used. Hopefully, they have disregarded the holes in between. It only makes the fantasy aspect of love they wanted to share as a convoluted pseudo-reality. Or maybe that’s the thing with love, the more real it is, the less pleasant it is to watch. A love story that is real (relatable) and beautiful is a true masterpiece.
To continue further with my discussion of the film, Tata was introduced to his father (Lloyd Samartino) and half-brother Prince (Baron Geisler) who easily accepted this supposedly odious discovery. To be honest, in real-life this is highly unlikely to happen. I could have been fossilized right at that moment. And Tata too have accepted it without any resentment. And then, a light shines in with the introduction of Stephanie, the fiancée of Prince who he had just met with her two-week stay in the United States. So we ended up with the building up of the instant liking of Tata to Stephanie and presto a multi-layered alarming conflict arises. I could have accepted the pairing of the two since its just magic that could explain everything. But the consistency it is supposed to strive for has been neglected resulting in a scrawny romantic film.
The pairing of the two is a viable love pair based on what, attractiveness is less than basic, it’s base. So when it happens, they just ignore it since they have no source of intricate emotions. And when reality sinks in, it is too late to have pondered on such sentiments. I don’t really mind if love stories are fabricated as long as the story development is cohesive. But on this one, it is one of those greasy potato fries you could buy from the fast-food chains. We eat it fast until we realize, it is not real potato. And we cry like a baby.
Charlie Koon's Rating: 
