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:

Outright Confused

Timeless

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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:

There is Love down under

Yeeehaaa!

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Love Me Again has taken two steps forward in telling a love story. It strays from the formula of most romantic films and in effect shunning the usual boy meets girl premise. The two characters have an established background. They were previous lovers who have not seen each other for years. Suddenly, they meet again which leads us to assume that there is really another possible romantic affair.

The starting sequence of the film shows the green fields of Bukidnon. Then, the two characters are having a horse race going atop the hill. Migo (Piolo Pascual) wants to win back Arah’s (Angel Locsin) love and trust. He does this through sugar-encrusted lines said to Arah, overtly trite love gestures, horse race bets, bull riding and even joining the famous calf roping during the Kaamulan Rodeo Festival. During the festivities, Migo’s team-up with Arah’s father (Ricky Davao) won them the Rodeo competition. Suddenly, Arah’s father got gored by one of the calves. The worried Arah desperately needs money. She gets an offer from his uncle’s (Ronnie Lazaro) boss Brian (Brent Metken), an Australian rancher to join them to work abroad. Migo gives financial support to Arah for her not to go. But Arah has already made her decision.

It sounds like a love that will conquer any barrier and distance. And yes, it is. I am aware to whom this film is made. As I have said, the film has made some alterations with the romantic formula. Obviously, they cannot further make flamboyant and wild experimentations to make this a work of a superior caliber. It has a market to please in that once it has achieved the audience satisfaction, it could be adequate to make this film just passable, the financial returns is an expectation. I don’t want to be explicit on this but for now, I have to say that mainstream films balances the gifts they have in hand and offers compensation to most viewers. Love Me Again has been written by Jewel Castro and Arah Jell Badayos with careful intonation. The conflict of the story is of course well regarded on how they made it more natural.

Arah’s character has high hopes for a future love with Migo. But then, it is shattered by the accident. She works in a ranch in Australia and after a while, she was offered by Brian to get married. Arah is good in Mathematics which I think got Brian’s interest to have her as a partner. She stopped doing physical work and instead she does the Bookkeeping. Until after two years, Migo appeared in the ranch hoping for work and to get Arah back.

Both actors are convincing as a love pair. They are candid most of the times and I know most of the viewers had a great time seeing these two stars riding in horses and chasing calves. It is risky in a way and I admire both Pascual and Locsin in having the courage in doing most of the stunts. Also, I can sense that Pascual has really the potency to be very accessible as an actor. He is so easy to be paired with anyone and that is quite a talent because that is the essence of making the story more convincing. His character as Migo has lots of weakness and much of it has ruined the opportunity to have Arah’s trust back. Although he gets to do one thing that is right and sensible. He opted not to sell part of the ranch. There is a hope for something to go back for.

Rory Quintos has a certain feel of what love is all about which is why she gets to direct a film with more bluntness towards this kind of emotion. It is a risk in itself. But the director and the writers have balanced this through the timely progress of their love which even took more than two years until Pascual’s character even went far to Australia. The sight of small scale festivals in the province and working abroad is believable as a backdrop. Although I have noticed that the horse scenes of the two stars could be more polished. Their efforts must be seen since it is hard doing all of that stuff. The camera works appears to be dull and listless. Innovation with the camera techniques might help these scenes look more forceful and engaging.

Arah’s father once said to Migo that Bukidnon during his times had a flourishing Cowboy livelihood. At present, the refusal for change is not anymore practical. It is part of the metaphor of love, the refusal to yield once the passion has set, as seen in Migo’s refusal to move on despite the realities of a pragmatist’s world. There are opportunities given at every point in our life. And with those prospects, we have to deal with it with practicality. Love Me Again in relative terms is a film that could be enjoyed by most audiences. In recent times, the Filipino Film Industry is still struggling. Love Me Again could be sufficient for now. It has a logical conflict and even if the ending is a bit contrived, even the intelligent ones cannot argue as love is not perhaps greater but is independent of logic. It is the person’s choice whether to use logic and practicality in love or to dive head-on without the knowledge of depth.
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Charlie Koon's Rating: