Just a Coincidence?

Race to the finish line

Padyak is not a very bad film nor is it very a good film either. What you will expect from Padyak is a different film narrative. The film is derived from a Palanca Award winning literary piece; therefore it explicates the peculiarity of the story structure. The good side of encrusting the film with epigrammatic interconnected stories makes the entire film experience stimulating. But there is also a fallback. The variety of stories offered by the film is too lengthy. It demulsifies the idea they had in mind and in effect, the crust of the story becomes loose. This creates a stigma to the audience that once they are beginning to be cranky, they detach their selves to the possible ‘feel’ for the film.

Noel (Jay Aquitania) is a pedicab driver that wishes to study with the help of his earnings and the love and support of his mother Pacita (Irma Adlawan). One day, he helped a customer named Helga (Katherine Luna) with her groceries up to her condominium unit. They have a chat about anything under the sun. Soon enough, Noel gets information that Helga fell from the building. Noel seems to have been struck with the awareness that life could end and contemplates the meaning of his own existence.

The film has other meatier stories within it and there is a hint that it is related to Noel’s life: A bloody ménage-a-trios affair of a drug addict (Rita Avila) and her younger lover (Arnold Reyes) who is in love with the maid (Mercedes Cabral), a somewhat silly children’s cooking segment where Angel Jacob (reprising her role as a cook?) has a semi-dysfunctional family, and a schizophrenic geeky wanker played by Baron Geisler.

Padyak lingers towards the genre existentialist film, with a probable background of social realist pragmatism. There are insights on Noel’s life who he thinks his way of life could not be substantiated to have meaning but rather opts to reflect on the shortcomings it has given to him. To justify his importance, the writer concocts unfamiliar people that might coincide to the aim of this parable.

I have no qualms with how Aquitania has freshened up the character. He gives rawness and excitement to this ordinary guy. I am also amazed with the risks made by Avila. She deserves to be applauded for her uncanny portrayal of a sadistic junkie. Although Geisler gives out an invigorating yet campy portrayal of a person suffering from dual personality, the attitude is there but the direction could have been more polished.

As the story progresses, I sensed something could have been wrong with the film. There is a need to reassess the story treatment. The pacing is just slow and downright sprawling. The way the scenes unfold might have been composed for non-linearity’s sake but as an audience, there could be more ways to make it cohesive (not on a technical way of writing) but to make a right kind of flavor to the interrelated scenarios. There are films that has done multi-layer stories and it must decide from the very beginning what they really wanted to point further.

At the end of the film, we are reminded that our existence makes this world a better place. We are unaware of this as we human beings are living our own lives. Seeing the world turn makes it meaningful and if ever there are doubts, we begin to see the gray side of coincidence. But this ordinary guy seems innocent to skeptics and philosophers. Doing what is right is natural to human behavior. Although there are numerous mishaps within the film, Padyak has the persona of a human full of flaws. It might interest viewers if it could have been made with a more careful rendition.

Charlie Koon's Rating:

Deeply Felt

Anxious Mother

It is actually hard to restrain one’s emotion especially on my part in watching the film Concerto. The subject matter is in fact a taboo with our Japanese ancestors and relatives. It really hurts to hear people say; Japanese people are violent. Isao Takahata’s Grave of the Fireflies is a prime example that even in Japan at the time of war, they also suffered. Concerto tackles a story of a Filipino family during the Japanese Occupation. It is atypical with its wartime depiction, much of it with subtlety and objectivity. It tries to show some sympathy towards the Japanese soldiers. It could be all true that the horrifying events are just the consequence of war.

Concerto is written and directed by Paul Alexander Morales. It tells the story of a family during wartime in Davao. During the Japanese Occupation, the family of Ricardo (Nonoy Froilan) and his wife Julia (Sharmaine Buencamino) evacuates their house in the city and stays in the farm of their relative. Their son Joselito (Jay Aquitania) shows fondness towards the Japanese culture. Joselito knows how to speak Nihonggo; which in return gets the consideration from the Japanese soldiers. Aside from the daily ration of fried sweetened potatoes, the Japanese soldiers always had lavish dinners in their home. His sister Maria (Yna Asistio) also showed some kindness towards the Japanese and even had a slight romance with one of the soldiers. But their other sibling Niña (Meryll Soriano) and their father Ricardo are hesitant in showing the same empathy.

The vital aspect for a period film to be successful is if it renders a film with accuracy. Concerto is able to mobilize their resources and come up with a film scenario that could be sufficiently convincing for a period look. It was able to show a 1940’s era without too much pretension. The story itself is set in a farm. That is an advantage on their part. The story happens during the Japanese Occupation. Morales gives deference to his story material by using authentic Japanese actors. This is quite admirable for obvious reasons. Filipino characters can only be played by Filipinos.

With the film’s title, some people confuse it with its inclination to music rather than a film. Some thought it is a musical extravaganza of some sort. Anyhow, Concerto offers a little tribute on how fruitful our music was produced in those times. Yna Asistio’s character Maria play and sings with the piano a common Visayan song entitled “Rosas Pandan” which is written by the famous Domingo Lopez. The other song played in the film is written by the National Artist Nicanor Abelardo. The song “Nasaan Ka Irog” gives a sense of nostalgia and it would really stimulate a sense of sentimentality. One evening, Joselito sings a famous Japanese patriotic song “Aikoku Koshinkyoku” by Morikawa Sachio. The Japanese soldiers join him with much enthusiasm and even cry “Banzai” afterwards. Classical Composition of Chopin and Beethoven was also played. Despite political and social barriers, the language of music is universal as it breaks walls.

The story of Concerto was based on the diary of Lt. Col. Anastacio Campo. “Diary of the War: Memoirs of WWII” is interpreted by the director’s own mother Virginia Yap Morales. The director has given a touch of melodrama with a more subtle approach in letting out human emotions. Joselito’s family might be a common welcoming family in your community. Each member might have differing opinions and approach of thinking. But here, we see them come together during the hardest of times. They entertain the Japanese soldiers wholeheartedly and provide them succulent meals in all chances. We cannot argue that Joselito’s comprehension with Nihonggo did help them save his family’s lives. War is not completely forgotten. The family has shown kindness but there are subtle points that there are calculated actions.

At one point, we will be questioning the kindness within us. Human sufferings, crisis, and wars might change our outlook in life. It will make monsters of us. The frightening truth is we tend to be influenced with austere similitude to life’s cruelty. Julia has a very good approach to combat misery and that is through prayer. Their family shows us a golden heart and has revealed it at the time when we should stay away from modesty. The Japanese too has shown compassion. One even knows how to show love and affection through Maria. Even Ricardo’s determination to show composure to the people who tortured and beat him is quite remarkable. Concerto humanizes us by showing both sides of the wall. With my mutual blood coming from two races, Concerto has been very sensitive with its rendition of a Filipino-Japanese relationship during the time of aggression. My partiality did not matter anymore because I was moved by the film completely.

Charlie Koon's Rating: