Carnival Fun

I know you will lurve it

Eugene Domingo stars as the twin sisters in the comedy film Kimmy Dora. These twins are rivals. No one will dare tie them back again with their own umbilical cords. Kimmy and Dora are the daughters of Luisito Go Dong Hae, a tycoon who is estimably one of the most influential settlers of our country. I am not sure whether they are made out of dumplings or kimchi as their surname implies so, but this comedy film will not hasten to use most of your brain for further analysis of its lampoon. To simplify things up, as long as a comedy film makes you laugh, the film itself is already vindicated and could be praised for its worth.

Kimmy is the smart, career-obsessed and devilish head honcho of the company. She is moody to her staff and sadistic to her assistant Gertrude (Miriam Quiambao). But her heart softens when Johnson (Dingdong Dantes) is around despite their differences in ideas when it comes to managing business prospects. Unfortunately, Johnson is more amiable to Dora, the super-special twin sister of Kimmy who is the opposite of her radical behavior. This made Kimmy be upset even more and sibling rivalry in the past has been dug. With the tension on the loose again, the petty fights has led to the heart attack of their father Luisito (Ariel Ureta). While recovering from her father’s ailment, Kimmy finds out that the will and testament favors more to her sister Dora.

Kimmy Dora will be the newest addition in our recent comedies that are exceptional and charming like Ded na si Lolo and Last Supper No. 3. But those two have a different switch, using social satire as a way to provoke laughter. Ang Tanging Ina could be a grand similarity due to its heavy usage of farce and the slapstick. I think these four films combined define what comedy in our times works. We make films for us to laugh but at the same time, it has the aroma of being our own, something that is not time-bounded.

I have said this before and I will repeat it further even if I sound obnoxious. Yes, I am a fan of comedy films. I have high expectations from our filmmakers when these films show up in our theaters and most especially if it’s the slapstick kind of comedy. I do want to progress with my own taste for comedies even if I have sung praises for the works of Charlie Chaplin and Leonid Gaidai. I am not really fond of Woody Allen films but I do regard his works as universal. Why am I saying this? I think most of our writers have this notion that even comedies should be intelligent with its rendering. And most of them dismiss slapstick as a flawed type of comedy. I will definitely disagree and this film Kimmy Dora will prove them wrong without me saying any further. I could have slapped their coconut brains with my IPOD and entrenched them with my Chaplin Collection. That scene for sure will be hilarious. But they could use wit as their defense tactic for this is the only kind that should progress in the comedy arena. And they could mistake slapstick for being offensive and mindless.

But true to the word, slapstick is not really the type of fresh corals that will sway your brains constantly. It is more of the mechanical type, perfunctory with its domain to produce laughter. Kimmy Dora does most of its pleasing moments on this approach. I will not be surprised with its great deal of slaptickness since it’s the territory of the director Joyce Bernal, who have expressed mightily a great form of absurdity and passed it over as a great entertaining film. Chris Martinez as the sole writer has the upper hand in layering its story with humor for its script with a classifiable ordeal of figures of speech. Kimmy mostly utters her lines in hyperbole while her sister Dora is more ‘intelligent’ and discreet for her one-time use of a palindrome, naming her adopted stray dog ‘Mickey’. Kimmy could have thrust her stilettos for its obvious slur. But she is at home with word exaggeration and slang offenses. Kimmy Dora is a great blend of different comedy types and as an outcome, it is miraculously compelling and mind enthralling.

I am more optimistic that our audience will be guided better so that they will eradicate some of its wrong notions towards film appreciation. Slapstick will always be a great form of comedy - if used judiciously. I am really saddened that most of the times, the audience has lots of pretensions that comedies are garbled as a serious matter and should be viewed with all our brain cells moving towards Level Ten – Einstein brainpower. I may be misconstrued for being narrow-minded, boxing the appreciation only to a certain type of comedy. But my point of view is just simply bending the values of a good comedy. The values of our times have changed. Blame consumerism for the abhorrent proclivities towards any form of appreciation. But I don’t mind the trends. I only believe in good films. Whether it is Chaplin or Allen, as long as it makes you laugh, then it proves that the film that you are watching is a good comedy. But always remember, laugh first before you think.


Charlie Koon's Rating:

Motherly Excuse

All rice... coup is now in season.

When America sneezes, the Philippines contracts pneumonia. That might be a logical way of presenting the situation of two countries experiencing the recent global crisis. But Filipinos are clever. They would rather die in laughter than suffer the inexorable dilemma we are currently facing. Filipino comedies are so in-demand and it has a higher probability to be successful in the box office. Ang Tanging Ina N’yong Lahat is something the Filipino audience would instantly be curious about. First, the title has a strong double-entendre– Filipinos has a great deal of response to innuendos. And of course, the film will star one of our country’s best comediennes.

Ang Tanging Ina N’yong Lahat is the sequel to the box office hit Ang Tanging Ina. Its promise of laughter is undeniable; most of it is due to the retention of certain aspects from the first film. It stars the ever-wacky, bizarre looking comedian, Ai-ai de las Alas. She has the ability to make you chortle with her cleverness in delivering comedic skits and most of the time, just by simply looking at her. Let’s say the physical appearance have played a special facet in the unique caricature of her persona. De Las Alas’ unique donkey facial intimations and her prominent chin ala Tarantino will certainly be the selling point of this film. And of course she is not totally new in the business. We have to be reminded that her TV stints and comedy concerts were phenomenal hit. Although in films it is entirely different. I hoped they sustained the laughable phase in the film and it could have worked so well.

De Las Alas stars as Ina, still a fraught widow of a dozen children. The film starts with the cortege of her recent husband. Actually we get a little dose of dues ex machina interpolation in the first film pertaining to the death of her husbands. It just weaves the story through and we start to see a parody of a TV drama wherein Ina is part of the cast wherein she gets to double the white wolf alter-ego of the lead star. It is an effective premise as comedy films gets to show a high-pitch sounding of humor the moment it starts. Nonetheless, they have succeeded by just dressing up de Las Alas in a scanty wolf suit and made her jump at the top of the building. It’s appropriate for Ina to do the stunts but definitely not the female lead or the purebred Siberian husky. It’s funny.

Her equally waggish best friend Rowena is played by Eugene Domingo. She is a great support or even a great equalizer to a great comedian. Their moments in the film are lauded by viewers mostly for their great timing and execution. Although the film’s comedic ambience subsides mostly with Ina’s rapport with her children. This started after she gets to be a star witness in the killing of the President of the Philippines. And with the twists of the story, she was elected as the President. Half of the film blurs its comedic element into something a bit tragic. I kind of wished it would end and the film would get back to where they are originally good at.

The genre that they are trying to portray is a bit quizzical on their grounds to provoke more laughter. The films get more sentimental when it reaches its climax. It is a mixture of Tearful Comedy and Bourgeois Tragedy. But when we review the history of Comedy, Bourgeois Tragedy is the outcome of Tearful Comedy. They might have forgotten to do their homework. We cannot confuse the audience for something they might have wanted in the first place. It just suggests a reason for audiences to see that despite the tragedies that are inflicted on the heroine, there is a moral triumph that will prevail.

It is not all wrong to squeeze in a bit of tragicomic appeal in films. But it might spoil the promise they have laid all along. Considering the ample amount of comedic elements in the film, they could have stuck through it all along. First, there is parody employed in the film and even in Ina’s character. She lacks the skills of being the President and has constantly used obscure quotes to direct the problems in the country. The political and social satire was used for backdrop. It simply entrenches the errors present in the Philippine Society. The slapstick element has infused the film with a pragmatic tone which maintains its retrospective charm but with an updated style.

Ang Tanging Ina N’yong Lahat has great potential to fully develop the comedic structure which we excel in, provided that they will learn from their past works or even recent ones to make a comedy of superior caliber. The story does not require to be smart in all aspects but the invention of a story that is funny requires intelligence. I hope Wenn Deramas learns many things in his Ina Series. Their strong points are now presented and hopefully they stick to it. I am hoping to laugh from beginning till the end and I would look forward into seeing this in the future. This is quite possible as I have seen de Las Alas perform in concerts and it is really entertaining.


Charlie Koon's Rating:

Let’s Add More

I am beautiful

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Truth is more painful than death. It would be easy to accept death than leave your loved ones until the time has arrived. It is sometimes unfair that even the person who will depart will prolong the agony for the people who truly love them by not telling the truth. But then, if we think further, is it because they are too strong to endure the pain? Is it pride until the end that would matter? We are all equal no matter what condition we have. The truth is the only thing that could heal even the most unyielding soul.

Joyce (Mylene Dizon) is a career-obsessed single woman. Suddenly, she resigns to her work at the brink of her achievements because she acquired the terminal disease, pancreatic cancer. She is given three months to live. She grabs her post-it and jots down the things-to-do in the remaining months of her life. She seems extremely good at this and is terribly organized. Until each of her loved one knows her true condition.

Martinez’ has crafted the movie itself like a cancer patient. It has the ability to be fragile and rough with its composition. It could be also true that a device commonly done by most filmmakers to handle the theme of death has been deliberated. Fusing it with humor is not so unusual to us critics. But 100 has been clever considering the fact that it’s brought upon by natural comedians of our country. Eugene Domingo and Tessie Tomas have the ability to make a discourse with the tragedy bestowed to the protagonist. I will never doubt the story’s ability to bind comedy in dealing with this illness. It is bravery on the director’s part to have the assurance that it will likely be of valuable usage to an engaging and insightful story of a woman stricken by cancer.

Independent films have the tendency to experiment with its camera works and cinematography. I have no qualms with the sentimentality generated from some scenes even if it could have been more restrained. Although the Hong Kong sequence could have been a bit off. The home video effect might be misguided as a personal travelogue by the two actresses having a vacation. It’s good that in the end of the Hong Kong segment, Joyce is back again to her condition. The overall technical quality of the film is definitely superior. It gives elegance to the connotation that ‘indie’ film works have this dark and muddy tendency in its film format. It has maximized the medium could offer, mostly with the strengths of the intangibles like the storytelling approach and genre style.

The theme death is a universal language that we could relate to. Its either you are the one dying or the one being left behind. In Joyce’s life, her friends embody who we are. Ruby (Eugene Domingo) is Joyce’s childhood friend. She is the first to know of Joyce’s condition. She effortlessly continues to take the journey with her friend despite being perturbed by the news she has known. Eloisa (Tessie Tomas) is Joyce’s mother. She did not know the condition until the time when Joyce has to be rushed to the hospital. The mother instinct in her strikes without any trace of despair.

Until the very end, we could not get what we desire. Joyce has been very successful in her line of work. She gets the empathy of her friend who stayed despite the awful times of her life. But Joyce has an unrequited love. Death brings family and friends closer together. Despite the tragic occurrence, we still have the ability to laugh. It might help to ease the pain. After all, laughter is as natural as death.

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Charlie Koon's Rating:

Goes with the Flow

Oh Prince Charming, where art thou? ü

Venice. Savona. Rome. Pisa. Barcelona. Tunisia. Genoa. Napoli. Palma de Mallorca. Florence. Marseilles. These foreign places are used as backdrops for the film’s setting. That’s a bit generous for around two hundred bucks price admission. I.T.A.L.Y. (I Trust and Love You) is a plushy film, sustained by its splendid technical execution, and has a story that approaches a lighter touch on real-life drama. The fact that I had a nice time watching this film, viewing it is not in any way insulting.

I was sure that from the moment the opening credits are revealed, this is a lavish film production. Its rich visuals are engaging; appealing to be a good film appetizer. I rarely see local films that make tremendous efforts for such opening credits. Actually, I am as well cautious not to be overwhelmed with its grandiose setting and supposed to be impressive technicalities without giving complete attention to the film story/script. I appreciate Senedy Que’s clever writing approach and prudence in handling tailor-fitted characters. The story goes on as it is suppose to with minor understandable flaws.

Eager to meet her destiny, Destiny (Jolina Magdangal) seeks advice from a dubious fortune-teller for possible signs about the man in her dream. The fortune-teller vehemently gives her three vague and ludicrous signs that her prince charming will manifest. She notifies everything in her slum book. Along came a job offering for a cruise ship as a housekeeper, which without hesitation, she grabs due to financial problems. On her voyage, she willfully searches for the ‘destiny guy’ amongst the ship crew and passengers. Then she meets Paolo, (Dennis Trillo) a handsome mysterious guy that manifests two of the supposed signs. The last one - she will have to glance first at Paolo’s butt!

Let’s not kid ourselves; this film is made to entertain. It is evident with the director’s strides in technical excellence. With our country’s current financial instability, some people go to movie houses not to think, but to be amused and relaxed. But personally and in principle, I prefer thinking. On the contrary, an entertainment film such as I.T.A.L.Y. is rather a good form of diversion, a sort of stabilizer. I.T.A.L.Y. in consideration is smartly handled and its technical proficiency is enough reason to admire it. But I am daunted with the film’s appeal though. Even if I liked it, (I think the film is cute) there is a lesser audience as compared to most recent romcom flicks. Has it lost the hypnotic charisma it should possess and has somewhat transformed into a piece shameful trash an inevitability in formula films, hence the caustic indignation from most film critics. We want films to evolve, not to produce a static mold that the viewers will never be tired of. It does not exist. A movie must cater to the changing demography? Not quite. But I have something to say, Jolina Magdangal is in the industry for more than fifteen years. She has not yet shed off her virginal, uncorrupted, undefiled image.

Trillo has most of the dramatic sequences in the film and his acting is quite pleasing. He still manifests the matinee idol appeal expected from him. There is an undertoned love angle in the film between Rhian Ramos and Mark Herras. Ramos as Phoebe is inherently beautiful – she somewhat resembles the French actress Roxanne Mesquida. Herras fits his character well. The farce comedy element in the film relies heavily on pop culture parody and to some extent used slapstick for humorous effect. Eugene Domingo as Lovely and Rufa Mae Quinto as Stella excelled in this department. Their good command in shambles and travestry is not insulting even if it is nonsensical (on Stella’s part). As long as you like comedy, and you laughed your hearts out, their performance must be equally lauded for their precision. And yeah, I caught myself laughing for silly matters – forgive me.

I personally commend films which know a lot about film development. I.T.A.L.Y. is technically superior. It is diverse in musical scoring. The sound design is splendid (hardly ever seen dubbed parts). The story is unique with its proud demeanor in adopting farce comedy alongside the romantic overtones. Objectively speaking, the director Mark Reyes nailed it. But their main star, Magdangal, has her appeal diminished and was overshadowed by her contemporaries. She must rationalize the true essence of being an actress which involves higher risks. I sense that it is not mainly the producers or Magdangal’s manager that prevents her from developing roles in more robust direction, rather Jolina Magdangal alone. So, better watch out.


Charlie Koon's Rating: