Then & Now & Then

Back then, what you had was padalan or pasali, Bikol words for the more familiar Filipino term palabas. This referred to any film showing in the small barangay where you grew up.

This included the comedy flick Max & Jess featuring Panchito and Dolphy shown one summer afternoon in your grade school’s Industrial Arts building. It was probably led by your mother, who was then in charge of raising funds for the school’s non-formal education.

The movie was shown using a projector which flashed the film reel to a very big white mantel probably borrowed from your grandmother’s kitchen collection locked in the platera of the dakulang harong in the libod. The tickets were probably sold at P1.50 each for two features that provided some three hours of quality entertainment to your barrio folk.

There was also the health documentary sponsored by the Ministry of Health top-biled by then Minister Alfredo Bengzon, who gave out health advisories for the barangays. This was in the early 80s before Marcos stepped out of Malacañang. When it was shown in the Triangle, the open barangay hall, it rained heavily, much to the chagrin of some barangay folks who just went home disappointed. The others who did not leave the show made do with umbrellas and raincoats. But back then, the big telon was enough for them to get hooked: talk of being able to watch something on a big screen once in a blue moon. The documentary featured practices that can be adopted by the barangay folk to avoid diarrhea and dysentery, diseases that can be acquired from unsanitary and unhygienic toilet practices.

Then, there were the nightly treats of Betamax showing on black and white and later colored TV monitors in three key areas in the barangay.

There was one in the house of the Molata family which catered to the Baybay and Iraya residents. There, movies were shown inside the cramped sala of the Molatas, which was just inside their big retail store.

Bruce Lee

There was also the one owned by Tiyo Magno San Andres, a distant relative of your parents, who would clear his own bodega of grains and household supplies to make space for the nightly flicks of Bruce Lee, Dante Varona or Ramon Revilla, among many others. But you hardly had the chance to get in there, probably because you already enjoyed the free entry in your relatives’ “bigger movie house.”

This was your Auntie Felia’s bodega movie house where mostly new tapes were shown nightly for the entertainment of the barangay. Used as warehouse for copra transported in your Uncle Harben’s 10-wheeler truck from Tinambac to Naga, that place was in fact the biggest movie house because it could house 75 moviegoers or more at one time, particularly when it had no copra.

Yet, from time to time, moviegoers also sat on top of copra sacks even piled 10 times high while they revelled in Redford White’s antics or Cachupoy’s capers, or while they were kept alive and awake till midnight, enjoying the burugbugan or suruntukan in the movies of Fernando Poe, Jr., Rudy Fernandez, Rey Malonzo or George Estregan and a host of many other action stars. Talk of orchestra and balcony seating at the time.

Aside from the word-of-mouth shared by folks in the barangay, the nightly flicks were announced having their titles written  in chalk on your cousin’s green Alphabet Board displayed in front of their two-storey house just in front of Triangle, which for a long time served as the barangay market.

There was a time when the Acuñas’ bodega served as the official theater for the barangay, catering to the nightly entertainment of the folks—sometimes families (parents and children)—from Baybay to Pantalan and from Tigman and Banat, two bigger sitios situated at the two opposite ends from the Triangle.

When new tapes were brought in for the same movie house, you could expect a Standing Room Only; therefore, you could expect to be uncomfortable being seated or haggling for an inch of space with children your age, some of them even smelling rich of kasag (crabs).

Baad taga-Baybay ta parong-parong pang marhay an pinamanggihan. Linabunan na kasag tapos dai palan nagdamoy. (Probably from Sitio Baybay who had boiled crabs for supper and forgot to wash their hands afterwards.) Nom!

Among others, the Acuña movie house had the most strategic location, serving as the hub where most of the residents converged.

But that movie house would serve the barangay but only up to the time when your folks decided to settle and stay more permanently in the city. The kids, you and your cousins, were all growing up or had to grow up—so some things had to go. Besides, the place had only gotten smaller. (But certainly it was you who had grown bigger.) 

You had been initiated to the world of the movies at a very young age.

Growing up in that small barangay with all these movies you saw, you readily recall the pictures in your head: The loud and bright colors of the characters in Max & Jess, inspired from a komiks cartoon, only complemented the loud mouths of Dolphy and Panchito who raved and ranted against each other all throughout the movie.

There was also the sepia appearance of the Ministry of Health’s documentary flashed on the barangay telon, which only made it look like a news reel further back from the 1960s. You realize now that it was rather a mockumentary because at the time people were being taught on health practices under the rain, which had only ironically endangered their health.

And of course, the many varied colors in the smaller screen of your relatives where you probably saw—through the movies—all the worlds possible.

Now what readily comes to mind? You had the medieval heroine Hundra, which featured axing and butchering of warriors and amazons for most of the film; and the sharp colors of the characters in the animation Pete’s Dragon, which you must have watched with your cousins a hundred times only because unlike the rented copies used for the nightly showing, this was an original Betamax tape sent by the Acuña relatives from the United States.

There was also the flying dog in the Never-Ending Story; and the cyborgs in Arnold Schwarzenegger’s Terminator.

And of course there was the wave of melodramas favored by the women in your household probably because most of them were tearjerkers—from Dina Bonnevie’s Magdusa Ka to Maricel Soriano’s Pinulot Ka Lang sa Lupa to Jaypee de Guzman’s Mga Batang Yagit to Helen Gamboa’s Mundo Man Ay Magunaw, and a hundred other (melo)dramas.

These were the movies peopled by characters you would remember; characters whom you would, every now and then, find or seek in others; characters whom you would, in later years, see yourself become.

Back then, you got to enjoy a movie and even memorize the scenes in it only because it came once in a blue moon, as it were.

You always looked forward to one weekend when your parents would bring you all to watch the latest release in Bichara Theater in downtown Naga.

The whole week you looked forward to that Saturday or Sunday they promised because it surely would come with a date at the Naga Restaurant where you would be treated to bowls of steaming asado mami and toasted or steamed siopao—not to mention a probable new pair of shoes or a cool shirt from Zenco Footstep or Sampaguita Department Store.

But now, you have already brought home an audio-visual entertainment. You will watch a movie from your USB to your LCD TV, full HD, complete with the frills of the latest technology. Now the movie is only yours to play—and play back again and again and again, as many times as you like.

Back then, if you liked some scene in the film which you’d liked to watch again, you’d have to wait till the next feature so you would wait until you spend some three more hours inside the theater. But now, you won’t worry anymore. With your latest downloaded movie flashing on your 40” LCD screen, you can freeze that scene and relish the drama or action—complete with subtitles—to your heart’s content.

Back then, watching a movie was something to talk about with your siblings or cousins when you got back from the city. Now, watching a Torrentzed film from your USB drive is what you can only do because it would be so hard for you to talk to them who are thousands of cities away from where you are.

Identity Thieves

Ben Affleck’s Argo, which won Best Picture this year at the Oscars, is worth talking about. 

While Oscar winner director Ang Lee’s Life of Pi is a cinematic achievement in itself taking on a surreal approach to a real adventure story, it is the role playing of the characters in Argo that deserves a second look. Argo won Best Picture probably because the Academy members saw how it looked for a better way to tell a story.

Directed by Ben Affleck, Argo recreates the Iranian hostage crisis in 1979 after radical Moslem students stormed the U.S. Embassy in Tehran, seized some 66 Americans and vowed to stay there until the deposed Shah of Iran was sent back from New York to face trial. Opposed to Western influences, the Iranian militants released 13 hostages, but held the remaining 53 Americans, now demanding the return of billions of dollars they believed the shah had hoarded abroad.

The hostage crisis lasted for almost 444 days, marring the administration of then United States President Jimmy Carter, who was unable to negotiate their release. From November 1979 to January 1981, the Carter administration suffered a setback when it failed in an attempt to rescue the hostages. Negotiations were reported to have finally succeeded where war tactics failed.  

Argo zooms in on the plight of one Tony Mendez, CIA technical operations officer, who negotiated to save the six American statesmen who escaped from the embassy and sought shelter in the Canadian ambassador’s residence at the height of the crisis.

When Ben Affleck’s Tony Mendez tells John Goodman’s John Chambers, a Hollywood make-up artist who has previously crafted disguises for the CIA: “I need you to help me make a fake movie,” it is made clear how art, particularly filmmaking, is used to serve a higher end—and that is to save the lives of the diplomats caught in the social unrest.

And when John Chambers says, “So you’re going to come to Hollywood, act like a big shot, and not actually do anything,” the movie’s premise was now hinged on how falsehood can rather redirect everyone to seek the truth. 

Interesting in the film is the way the six American statesmen read into their roles given by Tony Mendez. There is much drama in how they assumed to be somebody else, i.e. as members of the filmmakers’ team producing a fake sci-fi, Star Wars-inspired Argo. 

Argo is a fake movie—a foil which Tony Mendez needed to convince Iranian authorities that the consulate staff who escaped are part of the production for a sci-fi movie. An action thriller itself, Argo was concerned more on the action of rescuing the hiding statesmen and escort them back to the States.

In the movie’s climax, the Iranian airport police, despite their vigilance and stone-faced authority, still fell prey to the foil that Mendez invented—Argo’s  Star Wars charisma did not fail to lure authorities away from identifying the diplomats, thus serving Mendes’ best intentions, as originally planned.

Although the Iranians were duped by the pop culture prevalent everywhere in the world, it is admirable how the world of movies served a purpose which should serve man—who himself created the movies.

Of course, Argo the movie within the movie is able to save the diplomats, even as Argo the bigger movie has established thrills in the cat-mouse chase which heightened the tension in the film.

Though the film is said to have made alterations from the real turn of events— especially for minimizing the role that the Canadian embassy played in the rescue, among others—Argo succeeds in bringing the audience to a heightened sense of thrill, which deserves a round of applause.

Man and dog

Sa The Grey na binidahan ni Liam Neeson ngonyan na 2012, an walong survivor sa nagbagsak na eroplano haling Alaska— kabali an karakter niyang si John Ottway—nagkagaradan man giraray pagkatapos.

Guardia kan sarong oil drill team sa Alaska si John Ottway. An apod niya sa trabahong ini—“job at the end of the world,” kun sain an kairiba niya mga “fugitives, ex-cons, assholes, men unfit for mankind.” Kadaklan kan mga yaraon duman mga pusakal, hinarabuan kawasa sa danyos ninda sa sociedad.

Patapos na an kontrata ni Ottway, pinapauli na siya. Alagad kan solo-solo siya sarong banggi, nagsurat siya sa agom niya, dangan nagprobar siyang maghugot. Kan babadilon niya na an sadiri nin shotgun sa kadikloman kan niyebe, nag-alulong an mga lobo (wolves). Nakulbaan siya kaini. Dai siya nadagos maghugot.

Pauruli na sinda kan kairiba sa drill team; tapos nag-crash an eroplano. Sa gabos na sakay, walo sana sainda an nagkaburuhay. Sa wreckage, an ibang nagkaburuhay naghaharadit nagngungurulngol ta nagkagaradan sa impact an mga pag-iriba ninda. Si Ottway nakaapon sa harayo. Pero pagkagimata niya, hinaranap niya si iba. Nakabalik siya sa binagsakan.

Dinulok niya si Lewenden, sarong kaibahan na nagtuturawis an dugo sa tulak. Naghaharadit na an ibang mga amigo ninda. Nagngunguruyngoy. Hinapot ni Lewenden si Ottway kun ano an nangyayari. Sabi ni Ottway saiya na magagadan na siya. Pinabagol ni Ottway an luong kan lalaki. Kinaulay niya ni kag pighapot kun siisay an saiyang namomotan. Kinaulay niya pa astang dai nagdugay, nautsan na ni.

Dai naghaloy, pinangenotan ni Ottway an grupo. Hinambal niya sa ilang maggibo sinda nin kalayo, nganing dai sinda magkaragadan sa lipot. Magharanap pagkakan dangan magharali sa crash site.

Pagharanap ninda nin mga nagkataradang kakanon sa wreckage sagkod mga bagay na magagamit, nahiling ni Ottway na ginuguyod kan lobo an sarong pasaherong babae, nag-uungol pa ni kan sagpangon kan layas na ayam. Sinaklolohan kuta ni Ottway alagad gadan na an biktima. Dinulak niya an ayam kaya kinaragat siya kaini. Nagkadarangog kan iba kaya nasaklolohan si Ottway. Kinarne kan lobo an tuhod niya pagkatapos.

Sabi ni Ottway na tibaad kuta nin mga wolves an lugar kun saen nag-crash an saindang eroplano. Piggagadan kan mga hayop na ini an mga tawong nararabay sa saindang balwarte. Hambal pa ni John Ottway sa iba, dai man kinakakan kan mga sapat na ini an mga tawo. Kinakaragat man lang ninda, sagkod ginagadan, sabi niya. Sa layas na kadlagan, tibaad mayo sindang ibang madalaganan.

Minaray logod nindang magharali, magparalarakaw maghanap nin rescue ta harayoon an saindang natubragan. Bago sinda naghali sa crash site ta nganing madulagan an mga wolves na nag-atake sainda, nanganam si Hendrick, sarong doctor. Iyo ni an sabi niya, “I feel like we should say something. I feel like with all these bodies all people have died, it doesn’t seem right for us to walk away. “God bless these men. Some of them are friends we could be lying here with them.” Nagtingag siya dangan naghambal, “Thank you for sparing us; and helping us. O, and keep that up, if you can.” Alagad, sa katapusan kan istorya, mayong naginibo an pangadie kan sarong survivor na doctor. Gabos sinda sa dalan nagkagaradan.

Sobra sa kabanga kan pelikula, nagparararalakaw nagparadurulag nagparatarandayag an mga survivor parayo sa mga lobo; alagad bago man ini natapos, saro saro sindang nagkaurubos. Kan saiya nang toka pagbantay pagka enot na banggi, inatake kan lobo si Hernandez pag-ihi kaini. Siya an enot na nagadan sa grupo. Kaya sabi ni Ottway magharali na sinda duman. Pagparalarakaw kan grupo parayo sa crash site, nawalat man si Flannery sa tahaw kan yelo kawasa dai nakayahan an lipot sagkod an halawig na lakaw. Nawalat-walat siya dangan inatake kan mga lobo.

Pag-camping na ninda sa taas kan kabukidan, nahangog sa halangkaw na altitude an negrong si Burke. Sa saindang pigtuytuyan, magdamlag nagparaduros nin makusogon. Pagkaaga, nakua si Burke kan pag-iribang saro nang yeladong bangkay. Si Talget napilay kan makasabit ni sa kahoy pagrulukso ninda pabalyo sa halangkawon na salog. Kan buminagsak na siya sa daga, hiniribunan tulos siya kan mga ayam dangan ginuruyod. Si Diaz napagal na sana man magparalakaw kaya nagpawalat na sa may gilid kan suba.

Sa kadudulag sa naghahapag na mga lobo, naglumpat si Hendrick sa suba tapos nagpaatong sa sulog, nakairarom siya sa dakulang gapo saka duman nalamos. Si Ottway iyo an nakahampang kan alpha male, an pinakahade kan mga wolves sa mismo kaining kuta. Dai na pinahiling an saindang pagdinulak, kan inatake ni Ottway nin kutsilyo an ido. Sa huring ritrato kan pelikula, nakahandusay si Ottway, sagkod an maisog na hadi kan mga ido.

Sa pagdulag kan mga survivor, ginuyod ninda an pamimilosopiya kan kagsurat kan istorya. Linangkaba kan pelikula an konseptong naturalismo na pinadaba kan Pranses na manugsulat na si Emile Zola, sarong pagtubod na an tawo oripon kan saiyang sadiring natura. Mayo nin magigibo an inaapod kan ibang free will, o fighting spirit. Para ki Zola, sagkod sa mga nagsurunod saiya, mayong ibang minapaitok sa buhay kan tawo kundi an saiyang Kalibutan, an gabos-gabos na mga bagay-bagay sa saiyang kinaban. Garo man sana sinabi kaini na mayo nin kapas an kalag na magpapangyari para an tawo maparahay o mabanhaw an saiyang kaugalingon sa katibaadan.

Linangkaba man kan pelikula an vulgarized na konsepto kan survival of the fittest. Sa naturalistang kinaban, an hadi kan kadlagan iyo an layas na ayam. Garo daing kapas an tawong lampas an an isog kan mga hinayupak na mga ayam. Dawa gurano kaisog kan tawong hampangon an saiyang kaiwal niyang ini sa kadlagan, magagadan siya ta magagadan.

Sa climax kan sugilanon, nagprobar si Ottway na tampadan an bagsik kag an isog kan mga lobo. Nagtrayumpo man kuta siya alagad, kawasa an tawo sagkod hayop parehong nagadan, lininaw sa pelikula na nungka madudulagan kan tawo an ungis kan kadlagan, an layas na kabihasnan, kun sain tibaad an hayop, bakong an tawo—an hadi kan kagabsan.

Sinurublian sa Hiligaynon

nakulbaan, nakilaghanan

kag, sagkod

sa ilang, saindang

naghambal, nagsabi

naglumpat, luminukso

manugsulat, parasurat

mabanhaw, masalbar

kaugalingon, sadiri

sugilanon, istorya

Beautiful Monsters

Save for one poignant scene in Richard Somes’s Corazon: Ang Unang Aswang, the rest of the movie leaves a number of unresolved settings, let’s call them clutter, that only puzzle the audience.

This scene involves Erich Gonzales’s Corazon fleeing the townsfolk and Derek Ramsey’s Daniel escaping the personal army of the landlord Matias (Mark Gil) in the post-World War II sakadas, most probably in the vast lands of Negros. (Immediately this mention of probability is only one among the many unresolved elements that cloud the essence of the movie. Aside from the landlord-tenant relationship which was prevalent elsewhere in the post-war Philippines, no other elements in the movie can make us infer it happened particularly there.)

In the village of Magdalena, Daniel, the loving farmer husband of the innocently beautiful Corazon, has just murdered the landlord Matias in his own mansion after the couple’s house was burned down by the goons. And the wounded Corazon, after being shot by Matias when she devoured his daughter Melissa in her bed, has also been found (and found out) by one of Daniel’s friends to be the one responsible for the killings of children in the village.

Both Daniel and Corazon are fleeing the enraged townsfolk who want to kill the village murderer. The scene rips your heart because both characters are rather fleeing their own created monsters. Daniel has murdered the landlord in retaliation for having burned their house; while Corazon has just been found out responsible for having devoured the children in the village. What rips your heart more is that the couple only wanted to have a child but the wife’s devotion to San Gerardo failed them—after Corazon delivered a stillborn. So the reality of a dead baby drove the main character Corazon (the could-have been mother) to curse God and throw her faith away to the dark.

The man-on-the-road element in this work of fiction is rendered well in this climactic scene, with the score swelling as the couple flees their pursuers heightening the drama and resolving it to the conclusion—as in the French term denouement (day-no-man)—when the couple vanish in the dark. So there.

Notes on Camp

In the 1960s, American writer Susan Sontag was brought to the world limelight after she pinpointed that camp is the “love of the unnatural, the artifice and exaggeration.” Well, we have seen camp movies proliferate in the horror flicks of the Filipino directors in the 80s—Shake, Rattle and Roll series and tons of other films in the same vein that entertained the generation of that decade. Through time, we have seen tendencies of Filipino movies to make use of camp, which refers to the effects that the film made to scare the audience by propping monsters and supernaturals so they look hideous or horrible only to make them appear outrageously odd or simply outrageous.

In Corazon, these include madwoman Melinda’s (Tetchie Agbayani) over-disheveled wig which rather exaggerates Diana Ross’s afro look. When I saw this, prizewinning fictionist critic Rosario Cruz-Lucero came to mind. In cases like this, Cruz-Lucero hints at the creative sense that an author needs not “overkill” the essence of what he is portraying by overdoing descriptions and attributes that have already been established.

The movie was trapped in the premise that a madwoman must really appear overly unkempt and dirty with her tattered outfit, teeth and all—or totally taong grasa so audience knows she is mad. And mad. And really mad. But there is just no need for Agbayani’s Melinda to appear this ridiculous so she could portray her Sisa character [she’s looking for her daughter who disappeared during the war]. I suppose Agbayani is fairly a good actress that her delivery of lines or a dramatic monologue alone could make us infer without a doubt she is a Sisa who was driven mad because she lost her child to the war.

Furthermore, we cannot see the relevance of Eric Gonzales’s Corazon putting on a baboy-damo mask to cloud her real intentions that she is the village monster preying on the innocent victims. What is Corazon’s reason for doing that? In the first place, where did she get the mask? Even the metallic effect of the face of the mask strikes us like it was stolen from the set of Kate Beckinsale’s Underworld which is too European to be accepted into the Filipino sensibility. Or talk of the masks used by  gladiators in Ridley Scott's Gladiator. Employing all these is more than camp, but more appropriately a rushed second-year high school drama production.

The movie also badly suffers from the complicated plot which requires more show time for them to be unraveled and resolved. Questions. Is Melinda the lost mother of Matias’s daughter Melissa? Or is Corazon the lost daughter of Melinda? We do not know. But it seemed as if the movie showed we knew they were. While it could have just dwelt on the legend of the aswang, or how the first human-eating human being came to be—initially called halimaw in the film—the movie touched on other sensibilities and opened territories where the other characters dwelt but which it did not pursue or explore at all.

Both Beautiful and Monstrous

At the time the halimaw devours the village children one by one, Corazon contorts her head like the way it is done in the Asian horror flicks that became the norm made popular by the Japanese original Ring in early 2000s. Sadly, the movie reeks of this hackneyed style which looked fresh only the first time it’s done in those days.

While the supporting characters of Mon Confiado’s and Epy Quizon’s are comfortable, Maria Isabel Lopez’s Aling Herminia is a revelation. Her portrayal of the relihiyosa in the less-than-two-minuter scene as the partera (quack midwife) is eerie and astonishingly original. The rest is unmemorable.

In some instances, also, both of the main characters deliver their intense scenes well. For one, Erich Gonzales’s childbirth is more convincing than other women who fake their ires and arrays in most films; while Ramsay’s macho tendencies and naturalness are without question.

The mestiza face of Erich Gonzales may be deemed realistic because she was said to be the love child of her mother and an American soldier during the war. But the placing of Derek Ramsay as the farmer Daniel, whose roots we barely know, is farcical. If at all, the movie does not make clear the background of Daniel. He is too sculpted to be just a humble farmer in the barrio—he hunts boars after he works out in the Fil-Am-Jap bodybuilding gym. Funny. Mon Confiado would be the more believable Daniel. Their metropolitan or cosmopolitan twang, could have been reworked to render their rustic characters more realistic. Talk of George VI doing the entire movie reworking his tongue in The King’s Speech. The lead actors are too beautiful to be monstrous because they look too polished for these rustic roles. Ultimately they appear ridiculous. Sadly camp.

“Corazon: Ang Unang Aswang”

Erich Gonzales, Derek Ramsay, Mark Gil, Epi Quizon, Maria Isabel Lopez, Tetchie Agbayani

Directed by Richard Somes

Skylight Films, 2012

All art is imitation

White Lady
Boots Anson-Roa, Angelica Panganiban, Pauleen Luna
Directed by Jeff Tan
Regal Films, 2006

In art and literature, Aristotle is often quoted for having said that all art is imitation—the Greek word for his concept is mimesis. Thus, you have the concept of the word mimicry for the animal behavior of adapting to their environment for survival, or mime, that theater style famous in beauty contests or high school theater arts.

Jeff Tan’s “White Lady” must have taken this definition too literally that the film is a hodgepodge of some ingenious works that we have previously seen onscreen.

“White Lady” opens quite cinematically, with zoom-in shots of the classroom chairs where the sort of epilogue for the story commences. Kind of tells you this is a serious picture to reckon with. Kind of thrills you, really. But as the movie progresses, we are made to infer that the sensibilities being showcased one after another are the ones we must have seen in a number of movies produced in the past.

A number of scenes in the film remind us of those in the Ring, The Grudge, Willard, or even Feng Shui, and all other stuffs horror flicks are made of. Of course, we say an artist can normally be a product of his influences. But for his part, being too imitative to the point of copying quite accurately what was done before is synonymous to plagiarism—an act that encroaches anyone’s right to intellectual property, such as those who made these previous films.

Such act highly resembles the act of photocopying articles from a book, and using them for one’s own purpose. The storyline is not original as it takes off from the white lady myth and the supernatural details we must have head over all our superstitious country.

We can cite instances of the lack of originality. The way all the kontrabidas die in the film reminds you of Kris Aquino’s Feng Shui, in which characters die according to their own year in the Chinese calendar—dragon, horse, snake, boa constrictor?, etc. Similarly in this film lacking originality, antagonists die according to their fear, probably because the White Lady herself knew about all of them, when she hovered in the campout where they phobia session took place.

The white lady coming out of the canvas reminds you of Sadako coming out of the television screen towards the end of the Ring which shocked people in 2002. The white lady spewing out smoke and ashes [right, because she was burned in the tool shed] makes you recall the horror specimen in the Grudge, both films anyway had their Hollywood versions.

The computer graphics work involving rats overwhelming one male character, the playing dolls moving and walking reminding you of 80s horror flicks where monsters and mumus were rolled on wheels, etc., or the mirror being shattered on the face of the lead female kontrabida, have yet to be polished so as to appear realistic, er believable. They have to be so—after all, everything in the film discipline must be make believe, a mimicry, an imitation. Logically, then, we should be made to believe.

Furthermore, Iwa Moto’s Mimi tells us that Moto is not an actress—her coñita twang and even a Koreanovela countenance do not match quite acceptably. Her final scene, though, matches up with her hackneyed acting as she dies of the shattered glass from the mirror. She is supposed to render the story much tension—with her original evil character, but she falls short of evil—just laughable in her cliché performance. Seriously, that is not a good thing for someone newly introduced in the industry, maybe. We can even wonder why she was discovered to act.

Meanwhile, the Ilonggo twang, according to my Ilongga companion, does not even sound believable, as she observed some inaccuracies or un-grammatical Ilonggo sentences in the dialogues. The director must have capitalized on Gian Carlos’ Ilonggo roots, but the un-grammatical sentences in the script did not save the Ilonggo sensibility.

The “Ili-ili” (Ilonggo for lullaby) theme, though, gets both our praise and flak. While it brings to an Ilonggo a sense of nostalgia, the actress’s lip synching another singer’s voice three or four times throughout the film suffices more than enough that he has seen more of such stuffs in television variety shows, where singers are said to be “singing” when they are not. At least in music videos or MTVs, we can forgive the swelling vocals [sounds] because it is timed accurately with the singer’s actual singing.

Citing the flaws of the film should make you curious about it. True. So, there. There’s not much else to say about it then.

TO BE FAIR, though, let’s ask, “What are the film’s sources of redemption, if any? What are its pluses, if applicable?” Pauleen Luna’s Pearl is simply engaging. Luna is a promising actress with her un-hackneyed countenance as the female lead who faces the dilemma, and who closes it satisfactorily in the final scene. Her pretty face does not fail to refresh the audience who is compelled to negotiate an otherwise dark, hackneyed storyline.

Angelica Panganiban’s Christina, the white lady herself, shines in her own way, too. Her portrayal as the innocent victim and a vengeful angel of death is quite portrayed with originality, complementing Boots Anson-Roa’s wicked [or weak-ed] Ilongga Lola Tasya, who gets away with her accent slightly unscathed, and who succumbs to the same predicament as her granddaughter Christina [but who finds herself in the middle of a Tanging Yaman poster in the final scene].

All the other characters, it should be noted, are pathetically stock characters. They are the cliché roles that we see being portrayed day in and day out on soaps [and other suds] on television. There’s nothing new about them.

That the film ends in a melodramatic way [anyway, scenes all throughout vacillate between Love to Love Season 10? and Shake, Rattle and Roll V] tells us that it is not a horror film after all. Perhaps it is something else. Or something else? Makes us think of the film otherwise by asking, “What is the film trying to do, if at all?” Ah.

In all, they say the best thing to constructively critique a badly made film is to ignore it, or not to review it at all. Or cite it at the end of the year as the worst this and that. Razzi Awards, etc. Of course not.

We believe in what the young people can do—so we do not just sit down and be apathetic to it like the rest of the world. At best, we could point out some things for consideration so next time they produce anything, we will not be shortchanged.

All art is imitation, it is said—but some people take it quite literally. Sadly.

The Departed

Rating:	★★★★
Category:	Movies
Genre:	Drama

In Martin Scorsese’s “The Departed,” all the law enforcers and the gangsters they pursue end up dead at the end. The police—Martin Sheen’s Captain Queenan and Mark Wahlberg’s Sergeant Dignam—in pursuit of the bigwig thug—Jack Nicholson’s Frank Costello—double-crossed both ways by Matt Damon’s Colin Sullivan and Leonardo DiCaprio’s Bill Costigan—are all killed.

It is just right that the bidas die since the film tackles an 80s Boston mobsters’ story, or because the film is done by Scorsese [who is world-famous for his sense of gore and glory]. After watching the film, you get a feel that it’s for real, meaning—it is realistic that the main characters die because right from the very start, they have just tricked each other.

While the movie title is perhaps stating the obvious—the word “departed” there connotes another sense. “Departed”—as in the sense of the dead, thus the phrase “our faithful departed”—rather translates into a more sensible meaning of isolation, since every mobster or law enforcer there—and the ones caught in between [Caprio and Damon]—seems to be rallying for his own cause, advancing his own cause, sadly solitarily.

Each one of them is trying to penetrate another’s territory—that inevitably the movie climaxes at the part when the “mole” or the “rat,” who makes a lot of trouble between the outlaws and the pursuers cannot just be easily caught—so confused their characters are they are that they end up pursuing and killing each other. They all end up being isolated. They, indeed, end up departed. Abandoned.

Scorsese’s film provides us similar insights into the present-world realities. The whole drama in this piece spells out man’s isolation which is deeply rooted in his self-interest, if not outright egotism.

At the height of the campaign for his partymates the US Midterm polls this week, US President George W. Bush, for instance, skirted the Iraq issue—instead persuading Americans that the main issues are taxes and terrorism. For this inconsolable war freak, nothing else is new—or worth addressing—but how he wants to get even with Al-Qaeda, or how to make Americans fat so they could forever patronize his war-freak whims.

Meanwhile, in a recent UN report on climate change, renowned economist Nicholas Stern points to the guilt of the industrial countries who have the biggest culpability and liability on the greenhouse gases issue, but who do not staunchly or surely address it. Countries like China, India and the US, so-called the biggest polluters of the world, have yet to be held liable for this.

Having no clear policies in place to address the environmental concern, the Bush administration is not being vocal or straightforward how to address this. International media are skeptical that the issue might not be touched in the president’s remaining term.

And while Indian citizens can only express their personal concern to address global warming, the government will have yet to list it as one of their priorities. But certainly time cannot wait for people to do something in their own time to resuscitate the endangered environment. Time waits for no one, and Mother Earth cannot tarry, either.

In a larger scale, we just await for realities in the films “Waterworld” and The Day After Tomorrow to happen. So any culture of indifference, self-interest or unrest will certainly not make things better.

Our world is continuously at war—the Sri Lankan conflict, Al-Qaeda’s recent attack in Pakistan, among others—the world doesn’t change. All news—we observe—spell discontent and hatred, or plainly, one’s lack of sensitivity to the needs of others.

The world may seem to be at peace when it is not. Isolation, that worst sense of existence caused by not being able to get our message across or seek understanding between and among ourselves—but just standing one’s ground because this is good for us, and only us—may not, at all, get us anywhere. These grim instances of self-interest will only pose to us more adversities in the future.

Man is in the brink because of his own isolation—he is the last ace he has to save himself, but he hardly realizes it. He is too “departed” to know what he must really want, or care for—he ends up needing endlessly.