Ang Bahay Bilang Entablado

 
A Portrait of the Artist as Filipino
Produksyon: The Philippine Drama Company
Direksyon: Naty Crame- Rogers Mandudula:
Nick Joaquin
Mga Nagsiganap: Naty Crame-Rogers, Florina Castillo, Francis Kenn Cayunda, atbp.

Puwedeng hatiin sa dalawang punto kung bakit ako humagilap ng paraan (at panahon) para mapanood ang isa na naman sa hindi ko mabilang na bersyon ng “Portrait of the Artist as Filipino” ni Nick Joaquin. Una at dahil ito ang talagang nakaanunsyo sa mga dyaryo, ito na raw ang huling pagkakataon na gaganap bilang Candida ang isa sa haligi ng Philippine theater na si Naty Crame-Rogers. Kung hindi ako nagkakamali, s’ya ang naging template ng Paula na kanyang ginawa sa film adaptation ni Lamberto Avellana at sa mga naunang staging ng dula. Ikalawa ay ‘yung ideya na makanood ng isang dula na nakasalang ang premise sa bahay at ito ay itatanghal sa isa ring bahay.

Maliban sa dalawang dahilan na nabanggit, maganda ring pag-aralan ‘yung pagkakataon na ang karakter nina Candida at Paula (siguro ay nasa 40’s na sa orihinal na konteksto) ay gaganapan ng dalawang artista (Florina Castillo bilang Paula) na mas matanda pa sa kanilang karakter. Si Naty Crame-Rogers, halimbawa, ayon sa mga tala ay nagdiwang ng ika-90 kaarawan n’ung nakaraang taon samantalang ang mga karakter na nakakatandang kapatid na sina Manolo at Pepang ay ginanapan naman ng mas nakababata. Sa mga eksenang magkakasama ang apat na magkakapatid, kitang kita ng mga mata ko ang enigma na kayang gawin ng teatro, na handa itong tumawid ng kasarian, gulang o maging relihiyon.

Wala namang bago sa pagtatanghal na ito ng akda ni Nick Joaquin. Wala ring kung anu-ano pang palabok. Naiimadyin ko na direkta ang pagsasabuhay ng dula mula sa orihinal nitong script. Ang kalumaan ng AmingTahanan Sala Theater (na isa talagang bahay) ay nakatulong upang magbigay-kulay sa tema ng isang nakaraang nagliliwaliw sa bohemia at unti-unting nilalamon ng makabagong era na salat sa delikadesa. Ang totoong hinihingi ng script ay isang marangyang bahay sa Intramuros na nanganganib maglaho dahil nais itong ibenta ng magkapatid na Manolo at Pepang na pawang mga puppet ng modernisasyon at kanipisan ng ideyalismo. Halatang hindi na masyadong naasikaso ang “AmingTahanan” sa 40 Stella Maris St. sa Brgy. Kapitolyo sa Pasig pero lutang na lutang naman na maraming alaala itong nakasiksik sa bawat haligi. Sa niloloob ko, baka ito mismo ay mayroong sariling portrait na nais protektahan at pangalagaan.

Hindi perpekto ang pagtatanghal. Marami itong butas sa dingding na kailangang tapalan. Ang Tony Javier ni Francis Kenn Cayunda ay masyado nang makabago para sa akin at hindi nakatulong ang ilang ad lib upang igiit ang kanyang ritmo at bagsak ng emosyon. O, siguro, mahirap lang burahin sa rehistro ang katotohanang lumalabas lalo ang kanyang kabataan sa gitna ng kanyang mga kaeksenang hamak na mas beterano. Pero gusto ko ang kanyang bulkan na sumasabog, partikular sa mga eksena ng panghihinayang at panlulumo. May ilang pagkakataon na tila naghihintayan ang mga aktor sa kung sino na ang magsasalita at sa maraming beses ay sinasalo ito ng direktor na parang isang gurong gumagabay sa kanyang mga workshopper.

Sa kabila ng lahat, ang pinakanapulot ko sa karanasan ng panonood ng “A Portrait of the Artist as Filipino” ng The Philippine Drama Company ay ang presensya mismo ni Naty Crame-Rogers. Hindi ko yata maisip na ginagawa ko pa rin (o ng mga theater artists mismo) ang bagay na ninanais sa edad na 90 nang walang kapaguran at pag-aalinlangan. May pagkakataon na kailangan na s’yang alalayan ng kanyang Paula sa paglabas ng “stage” pero ang kanyang bersyon ng breakdown scene ni Candida sa air raid practice ay nanatiling makinang at taos-puso. Ang makamayan s’ya pagkatapos ng pagtatanghal (bago kumain ng isang masarap na chicken arroz caldo bilang pasasalamat sa mga nanood na nagmistulang bisita sa nasabing bahay) ay isang malaking bagay.

Pussycat, Pussycat, Where Have You Been?

Before lunchtime two Thursdays ago, I got a word that my onsite assignment will be cut shorter by a month than initially laid out. Being in the same line of work for a decade now, the news was not new to me. In fact, my very first “foot soldier” assignment in Paris back in 2003 was also trimmed down from three months to disheartening 19 days. I remember being so regretful then of weekends that I just stayed in the apartment in Rue Alfred Stevens in the heart of Pigalle’s red light district. I should have explored Provence or Belgium on any free weekend. My only consolation then was experiencing the real Fête de la Musique on the eve of my flight back to Manila. Charge everything to experience so to speak. For this return engagement in the Netherlands, and after 10 fruitful years of memorable business trips (this is my 6th), I have to admit that my left toenail is still screaming “too soon”.

Oh, well.

On the weekend of the same week, I decided to go out and, as they say, smell the flowers. And what a way to seize it by visiting Paleis het Loo which once became the residence of the Dutch royal family (including the queen whose birthday is being celebrated every 29th of April, now known simply as “Queen’s Day”). It’s just a block away from the hotel where I am staying and it would be a shame if I don’t visit it before I head home.

Fortunately, it was Museum Weekend on that sunny spring weekend. That means extra loads of visitors and on the winning side, a cheaper entrance fee (from EUR 14.00 / PHP 751 to EUR 5 / PHP 268). It was already 2pm when I reached the place. I was eyeing for the armoury which opens at 1pm so I decided not to come as early as the palace’s opening hours (10am, I guess) because I might end up killing some extra waiting time.

Starting from the obelisk (which, at one point, became a reminder of a failed attempt to assassinate the queen on a Queen’s Day some years ago) in the intersection of Loolaan and Zwolseweg. I went to the tree lined path on the left and found my way locating the ticket booth in the stable area of the palace. It’s actually not easy to find as it is closer to the parking area than to the stable and the nearby cafeteria. It was a bit busy in the ticket room but never a hassle. From there, I walked to the stable which also displays some items relating to the royal family’s means of transportation from horses to cars used for some state visit. At the end of the hallway is a recreation of a horse carriage for Queen Wilhelmina’s funeral. By the way, it would be best to find this area first before proceeding to the main palace as the other building doesn’t sell any ticket.



Speaking of queens, I suddenly remember the first nursery rhyme that I memorized and recited in kindergarten. It went something like “Pussycat, pussycat, where have you been? I’ve been to London to visit the queen”. For this case, I went to Paleis het Loo to visit the place where the Dutch queen(s) once lived before they moved to another residence somewhere close to Amsterdam some years ago. The west wing of the palace, for instance, houses Queen Wilhelmina’s stuff during her last stay on the first floor and different portrait interpretation by some young artists (Andy Warhol included) of Queen Beatrix on the upper level. The latter is the reigning queen and will hold her title only until the upcoming Queen’s Day as she’s about to pass her throne to her son.

The east wing of the palace is also called the armoury which, as it suggests, contains anything military (medals, war gears, etc.) and some collection from Mauritshuis in Den Haag (on display until next year). From there, I had to go back to the palace’s front yard. Both west wing and east wing, and the main building in between have no connection. They may have some audio tour options but I did not avail of it. At this point, at around 4pm, Josh came on board and joined me for the rest of the tour and maze of royal rooms (bedroom, toilet, reception room, study room, children’s room and more). We didn’t get the chance to explore the Versailles-inspired gardens further because of the time but we saw it from the palace.  

I posted some pictures here and here to document the museum tour.

After some hours of getting cultured (with our nose already bleeding of too much art and affluence), Josh and I headed to Oranjerpark for a small weekend fair. It was about to close. Some shops were about to fold up except for the beer corner near the park’s central gazebo. It was one hell of a sunny Sunday and all I deserved that time was a nice strawberry ice cream from the little girl who sold it for a Euro a cone.  

Pictures of the side trip here.

Movie Digest # 089

PITCH PERFECT
Robinsons Galleria, Cinema 6, October 21, 5:20pm

Trite and predictable but at least it did the basic stuff right. POV is clear, singing is enjoyable and Anna Kendrick is just luminous.

Friends who might appreciate it: For sure they’ve heard about the film already.  



FRANKENWEENIE
SM City – North EDSA, IMAX Cinema, October 21, 7:50pm

I'm not sure if it can be classified as having a Tim Burton ending or not but it gave me an idea on how he handles a Disney film. It's both cuddly and dark but the references to B movies are the best part. Its message on death and science is clear and the song "Strange Love" just capped the fun.

Friends who might appreciate it: Kids.  

A SECRET AFFAIR
Eastwood Mall, Cinema 5, October 26, 1:00pm

Direction-wise, it's serviceable enough. It's just that it was already done before; same theme, almost the same cast, same gloss and same approach. Some scenes are likeable (car scene with Jaclyn Jose and daughters, the iconic artwork in Burgos Circle, etc.) but it's very hard to take the characters seriously. The women here are either plain bitch or just fickle minded.

Friends who might appreciate it: I wish I can demand them not to watch and like it.  

LAWLESS
Greenbelt 3, Cinema 5, October 27, 11:00pm

Categorically, the film is a popcorn action film for me. It's based on real life characters back in the 1930's Virginia. Its story about brothers who are forced to have a taste of violence is very easy to follow and probably has been exhausted before. Past that, it remains entertaining for me, thanks to its terrific photography. Guy Pearce should be noticed here at the very least.

Friends who might appreciate it: Those who are tired and weary of those Bruce Willis’ brand of machismo.  

SKYFALL
SM Mall of Asia, IMAX Cinema, November 4, 5:00pm

I haven't seen all the Bond films but from what I saw, this one's the most definitive. It has the usual stuff like undercover tasks involving women, some gadgets, some cars, sleek fashion and big action scenes. What differentiates this from the rest is the successful attempt to humanize the paper thin character. From this franchise on, audience can now easily empathize with the iconic agent. Also well acted (especially Javier Bardem who's scary in most scenes) and the production design is impressive. I can say that it's the only Bond film that I experienced a little sense of danger while watching it.

Friends who might appreciate it: For sure they’ve seen it.  


WRECK-IT RALPH
Glorietta 4, Cinema 1, November 7, 7:10pm

This film about finding purpose through an unlikely friendship is very predictable but I liked how it could stir the imagination of its expected young audience. As for the not-so-young viewers, there's always the novelty of the arcade/video game culture to consider. It would be lame to say it's an eye candy but the Sugar Rush scenes made me crave for sweets. Bonus: impressive B&W (and red) animation on the short film “Paperman” (which I believe was noticed by the Academy).

Friends who might appreciate it: Everybody has a purpose so....  

MADALING ARAW, MAHABANG GABI
Glorietta 4, Cinema 2, November 7, 9:40pm

Aside from the additional CGI, I didn't see much progress from its version that was shown at the CCP four months ago but I enjoyed it the second time around. This talky film which looked like a labor of love from a circle of friends in the industry has to have an audience. It could actually serve as a baby step in anti-formula film appreciation in Pinoy cinema. It's about the vanishing tradition of Pangangaluluwa where the characters are challenged to reexamine their own souls. The stories are a bit uneven and the final segment relies on being too eventful but it was satisfying nonetheless. It was a good call to tag playwright (and Virgin Labfest regular) Nicolas Pichay on board as co-writer.

Friends who might appreciate it: Not entirely sure who’s going to appreciate the film.  

TWILIGHT BREAKING DAWN, PART 2
Newport Cinemas, Cinema 4, November 18, 1:05pm

I missed the first part but at least I still managed to pick up the story. Oh, there's really no story. It's just a clash of two vampire groups and their preparation for it. Snapshots on the opening credits are good though and the OST sounds promising for its genre.

Friends who might appreciate it: It’s so pop that it doesn’t require any recommendation at all.  

RIGODON
Trinoma, Cinema 2, November 21, 9:55pm

This glossy film serves as an antidote to the recent Pinoy films about the so-called extra-marital affair. Erik Matti is like showing us how to better tackle infidelity: insightful, technically well made and sensual. The last few minutes of the film got me. It pretty much pinpoints what could have been the ripple effects of our actions, something that was not touched yet in other kabit films. John James Uy is not a good actor but the peg of the character is there. Yam Concepcion has a strong presence and very promising for her first film but it was Max Eigenmann, who reminds me of the young Monique Wilson, who delivered the goods.

Friends who might appreciate it: Married or not, this film deserves a try.  

THE TROUBLE WITH THE CURVE
Robinsons Galleria, Cinema 2, December 5, 12:10pm

I got no plans of watching the film at first but the extra time to kill pushed me to. I more or less knew what to expect from this Hallmark-y tale about the emotional distance between an aging father (Clint Eastwood) and his daughter (Amy Adams). And my guts are actually right. Reliable acting from the leads salvaged a quarter of what could have been the usual and run of the mill Hollywood drama.

Friends who might appreciate it: I can’t pinpoint anyone right now.  

RISE OF THE GUARDIANS
Robinsons Galleria, Cinema 3, December 7, 3:30pm

Past the cute idea of assembling the familiar characters (Santa Claus, Jack Frost, etc.), there's nothing more to it. It's another take on maturity and on how to shoulder responsibility. For sure, I've seen something like that before. It's enjoyable for 90 plus minutes nonetheless.

Friends who might appreciate it: Kids though they deserve something better.

KILLING THEM SOFTLY
Glorietta 4, Cinema 4, December 12, 7:35pm

This talky film reminds me of Quentin Tarantino's early works, only more technically promising. I can actually stand the slow pacing but the reference to the US national elections is a bit forced for me and oftentimes distracting. I can say that Brad Pitt has been very picky on his film projects.

Friends who might appreciate it: Forget the song reference in the title; it’s not Cannes-decorated for nothing.

FLAMES OF LOVE
Glorietta 4, Cinema 1, December 12, 9:25pm

I almost walked out after 15 minutes, particularly in a scene that involves a soft-spoken guy and his girlfriend dismissing pre-marital sex. He said that it's a love triangle between them and God. The rest of the film boasts of similar scenes; saying no to abortion (which, on personal note, is a good campaign) and repeatedly preaching that condoms are ineffective. The “sermon” that the film tries to convey is difficult to swallow especially for a script that seems to challenge not morality but reality. The OFW mom for instance is shown putting $1,000 in a snail mail and the money reaches the daughter. There's nothing much from the acting department either considering the presence of the likes of Christopher de Leon, Lani Mercado and even the great Jaclyn Jose. Only exception perhaps is Dina Bonnevie who did great.

Friends who might appreciate it: I know some extremely religious friends who may appreciate the film big time.  

MNL 143
SM Megamall, Cinema 12, December 15, 12:00pm

Similar to Emerson Reyes' award-winning short film, "Walang Katapusang Kuwarto", the audience is once again asked to eavesdrop to other people’s conversations. This time around, the POV is brought inside an FX and charmed to feel what’s going to be a day like for a public transport driver (Allan Paule). For me, the whole premise looks like an extended plot for a short film (the moment Joy Viado joined in up to the last frame) and some odd decisions (like the scene where the lead character is seen getting emotional while the whole song from “Paalam, Aking Bulalakaw” is being played on the radio) did not help. I must admit though that the last five or so minutes provided the expected kilig.

Friends who might appreciate it: I can’t tell.  

CLOUD ATLAS
Robinsons Galleria, Cinema 8, December 15, 3:20pm

First things first, I haven’t read the book. What I’ve heard is that the novel is challenging to adapt on film. It’s a bit noticeable along the way but the Wachowski brothers (more of siblings now) and Tom Tykver did a great job with the finished product. The timelines are easy to follow and seeing the same set of actors (Tom Hanks, Halle Berry, Hugo Weaving, Jim Sturgess, Doona Bae, etc.) doing different set of characters pushes the agenda further that everything is connected. It’s a new experience for me since the different timelines serve as varied storylines as if I was watching four or five different short films in one. Maybe a bit simplistic if taken per piece but at least the high concept is not messed up. The only downside for me is the make-up. It is sometimes overly distracting especially those episodes that require a Caucasian actor play an Asian role and vice versa.

Friends who might appreciate it: Those who miss the same folks who gave us “Matrix” and “Run, Lola, Run”.

One More Zaanse Schans

Eleven days after I arrived here in Apeldoorn, Kate, Claire (a colleague’s sister who’s having a side trip in the Netherlands from Frankfurt before heading back to Manila) and I met up at the train station. It was cold as expected. I only have some clothing for spring and the extended winter on that Saturday morning was meant to be some sort of dissuasion.

Zaanse Schans is a small village strategically located close to Amsterdam. By strategically, I mean another tourist trap for those who are craving to see some windmills and have no time to go as far as the Kinderdijk. It’s like a Dutch version of the now defunct Nayong Pilipino or that theme park in Pampanga that was erected in time for the Philippine centennial. I didn’t manage to check if the village was artificially constructed or it was really a liveable village that’s just converted into a park.

The closest train station from there is Koog-Zaandijk. Of course, 9292.nl can come up with a route that is more convenient but the 20-minute walk from the train station includes getting a free map to the village. Don’t bother getting one from the store at the station. The guy who looks like the owner might encourage you to buy something to hand you a map in return. Don’t fall for that. Securing the map just outside the station some sort of jumpstarts the visit as you have to figure out how you can best pull the handle from a box that imitates a slot machine.

From that machine, it would take around 10 minutes of leisure walk to finally reach the first windmill at the foot of a bridge. I saw a lot of side trippers with their carry-on bags and they looked fine with the idea. From the bridge, you can already have a clue of what lies ahead. Three or four windmills are lined up at the side of the river and some old and small houses can be seen from there. If not too windy, it would be good to warm up the camera. It would take another five minutes to finally reach the park.

Kate, Claire and I spent the first 30 minutes checking out the houses that serve as something else. There’s one that is converted to a clock museum then the first Albert Heijn (probably a Dutch counterpart of Henry Sy only in a small scale retail business) store then more houses of the same kind and purpose. We went into a barn-looking place with a windmill on top which is specifically intended to pulverize some spices. From afar is another set of houses/barns for the clogs, cheese and more. Souvenirs are everywhere. There’s an art museum close to what looks like a parking spot for buses on excursion. We ended up having our very late lunch in the cafeteria there with apple pie and some chips and later on decided to just make a full stop at Amsterdam to get a real meal (Coco’s Outback is the place to be).

So there went my first brush of the Netherlands after seven long years. Up to now, I am still considerately rethinking why I did not bother visiting Zaanse Schans while I was here the first time around (wait, more of the second time as I had a really quick visit to Amsterdam in 2003 while stationed in Paris). Some familiar and awesome memories are starting to spring up and I am in for those digital boards that display the bus schedule. An anonymous OV Chipkaart is also kept in my wallet and it’s very comfy to just swag the thing on a yellow marked box inside the bus (or outside the train stations).

 More pictures taken at Zaanse Schans here and the short visit to Amsterdam here. 



I did not say much about Apeldoorn, my new home for the next two months, as I believe the snapshots here can do the job. Also, it would be ungrateful too not to make a day stop at Utrecht which became a comfort zone for me for the whole 2006. I only did that during Easter Sunday (check out the pictures here) and what a way to celebrate new beginnings by feasting on some all-time favorite dishes at Tai Soen. I guess, for now, I can say that I am really back and this time more than equipped with a blog title that is inspired by a John Lloyd - Bea movie.

‘Sangkaterbang Dula Para sa Malamyang Buhos ng Manonood sa 4th National Theater Fest Noong Nakaraang Taon

Hindi ko alam kung may kinalaman ang bumubuo ng marketing team dahil hindi nakuha ng 4th National Theater Festival (na may tagline na “Ikaapat na Tagpo” bilang pagpupugay sa unang tatlong “tagpo” na naganap sa magkakalayong taon) sa CCP ang inaasahan kong ligwak ng manonood kamukha, halimbawa, ng Cinemalaya. Siguro ay hindi pantay ang pagkumpara sa Cinemalaya, dahil hindi kasing discriminating ng dula ang pelikula, pero festival kasi ito at kahit papaano ay nangangailangan ng festive mood. Ang mga inaasahang daloy ng mga estudyante mula sa iba’t ibang eskuwelahan ay hindi ko nakita. Nagkaroon kaya ng imbitasyon para sa kanila? O, sadyang wala lang ito sa panahon (November 8 – 18) na may karampatang oras ang mga nasa academe? May ilan namang dula ang nagkaroon ng nagsusumiksik na manonood (ang restaging ng “Orozman at Zafira”, halimbawa, ay full house sa dalawa nitong pagtatanghal) pero ang karamihan ay nangangatok ng patron kahit man lang hanggang kalahati.

Baka naman may kinalaman ang presyo ng dula at mahirap nang pagkasyahin sa budget kung magma-marathon pa sa ‘sangkaterbang mga entry rito. Ang isang ticket sa pagtatanghal sa Tanghalang Aurelio Tolentino (TAT o Little Theater) ay pumapatak ng P800 at P500 naman sa Tanghalang Huseng Batute (THB). Kumpara sa mga dulang ginagawa ng Dulaang UP o Tanghalang Ateneo, medyo mas mahal ito. Para sa nais makatipid, nagkaroon sila ng festival passes. Ang TAT Pass sa halagang P3,000 ay may libreng entrance na sa lahat ng pitong produksyon na gagawin sa TAT samantalang ang Student Pass naman sa halagang P1,000 ay merong tigdalawang entrance sa TAT at THB. In-avail ko ang TAT Pass (ang proseso ay kamukha ng nakaraang Cinemalaya, ‘yung merong card na ini-scan sa bawat pagpasok sa teatro) sa pag-asang makatipid sa mga gusto kong mapanood. Nakakatuwa lang na dahil noong kumuha ako nito, pinansin ng staff na mapapalampas ko raw ang unang pagtatanghal (“Stageshow” ng TP) sa TAT at bilang sukli, maaari raw akong pumili ng kahit anong palabas sa THB. Kung hindi ako nagkakamali, ako lang yata ang kumuha ng TAT Pass (o bilang kami sa daliri) dahil hindi na nila nilalatag ang scanner sa harapan ng venue.

Sa kabila ng kalamyaan, heto ang ilan sa mga napanood ko:  

DULA TA (MSU Kabpapagariya Ensemble) Hindi ko naabutan ang unang kalahati ng dula dahil sa trapik mula sa The Fort hanggang CCP kaya’t nagpakuwento na lang ako ng mga napalampas ko. Sa naabutan ko, tungkol ito sa mga bata na nakikihalubilo sa isang dating sundalo na tinakasan na ng bait. Tungkol sa innocence ang tema at kung paano ito binabasag ng violence sa Mindanao. Sa punto na kailangang i-recreate ang gunfight, halos tumakbo ako mula sa inuupuan ko sa Tanghalang Huseng Batute. Hindi sa nagulat ako sa “putok ng baril” (na mula sa paghampas ng ilan sa produksyon sa plywood at hindi mula sa isang pre-recorded at delatang tunog) kundi dahil nagulat ang karamihan sa audience at handa nang tumalon mula sa kanilang kinauupuan. Ito siguro ang pinakamabisang parte ng dula at ‘yung kilabot na ginawa nito sa akin upang maramdaman ang nararamdaman ng mga kapatid natin sa Mindanao. Sa Q&A portion, sinabi ng mga taga-produksyon na kapag dinadala nila ang dula sa ilang pagtatanghal sa baryo, ang iba ay halos nakakatalon sa pader sa sobrang takot.  

DUHA KA ALIMPO SA HABAGAT... BOHOL 1700 (Bohol Antequera at Maribojoc Cultural Collectives sa pakikipag-ugnayan ng Teatro Bol-Anon) Hindi ko nagustuhan ‘yung premise nito. Tingin ko, unang nabuo ‘yung idea na magkaroon ng kolektibong grupo bago naisulat ang script. Nagmukhang episodic ang pagkakalatag at walang madulas na daloy ng storytelling. Sa kabila nito, mas nagging interesante sa akin na malaman na ang mga miyembro ng ensemble ay isang diaspora ng Bohol: merong dating kasapi ng children’s choir, merong mangingisda, merong nag-cutting class para lang makarating sa Manila at iba pa. Ang musika ni Lutgardo Labad ay ibang usapin. Gusto ko ang mga areglo at gusto ko rin kung paano ito inawit ng mga kasali sa dula.  

UWAHIG (Integrated Performing Arts Guild) Dance ito na may ilang awit. Isa itong mabulaklak na interpretation ng isang epikong Mindanawon tungkol sa mga diyos, pagkalanta at muling pagsibol. Para sa katulad kong hindi pamilyar sa orihinal na teksto ng epiko (na sana ay alam ko bago ko ito napanood), medyo nawala ako. Parang masyadong marami nang nasala n’ung nagkaroon ito ng buhay bilang isang sayaw na itinanghal sa loob ng 45 minuto. Consolation ko na lang siguro na paminsan-minsan ay nakakaranas ako ng ganitong performance sa Tanghalang Huseng Batute na limitado ang espasyo sa paggalaw.  

SINTANG DALISAY (Tanghalang Ateneo) Sa ikalawang pagkakataon na napanood ko ito, at para sa iba at mas malaking venue, hindi pa rin magbabago ang pananaw ko sa dula. O baka mas lalo ko pa itong nagustuhan, mas napansin ang ilang detalye na hindi ko unang nanamnam. Narito ang kakambal na blog tungkol sa dula.  

HARING +UBU-L (Sipat Lawin Ensemble) Ito na siguro ang perpektong breather para sa line-up ng mga dula na nakapila para sa akin. Kung wala ang unscripted na atake sa dula, ang basa ko rito ay tungkol sa kung gaano ka-fragile ang tao sa pagkasuwapang sa kapangyarihan. Una ay isang mag-asawa ang naghangad ng trono, nakuha ito, nawala, bumalik, nawala at nakuhang muli. Isa siguro itong pagpapatunay sa isang komentaryo ng isang historian noon na bilang Pilipino, hindi natin kayang panghawakan ang pamumuno, na mas gagalaw tayo nang mas epektibo kung merong ibang entity na nagmamaneho sa atin. Maliban d’yan, sapat na sigurong experience ang mapanood sa ilan sa mahuhusay nating aktor sa entablado (Sheenly Gener, Abner Delina at Acey Aguilar) na pangatawanan ang dulang ito na walang harang, walang hugis at walang tuldok. Masaya ring maging bahagi ng audience sa pagtatanghal na ito na halos nakaupo lang sa entablado mismo at paminsan-minsan ay pinapakiusapang makigulo sa takbo ng dula.  

KAKARONG (Barasoain Kalinangan Foundation, Inc.) Pasok naman s’ya sa kategoryang sarswela dahil tumalakay ito sa mga isyu ng bayan (opresyon, himagsikan at iba pa) pero hindi ako masyadong nakuha. Siguro dahil nakita kong medyo trite na ang pagkakakuwento tungkol sa mga kabataan sa kontemporaryong panahon na biglang hinigop ng nakaraan. Sa time zone na ito nila tahasang namalas ang kabayanihan ng isang Bulakenyo at ang pagkadakila ng isang lugar na halos napaglipasan na. Hindi ko rin masyadong nagustuhan ang music dito. Pakiramdam ko, OPM pop ang template pero hindi ko masyadong nasalat ang sariling karakter nito kung meron man. Pero sa kabilang bahagi, nakuha ako n’ung subject na bahagyang tumalakay sa manipis na pagkakahati ng pananampalataya, anting-anting at katapangan. Sana mas nabungkal pa ang lupa nito at pinatubo hanggang lumago.  

ISA PANG KAWING (The Xavier Stage) Ilan sa mga nakahumalingan ko n’ung high school ay magbasa ng mga nanalong dula sa Palanca na kadalasan ay nililimbag kada limang taon o higit pa. Nasa ganoong molde ng mga nabasa kong dula ang one-act play na ito tungkol sa isang bagong kasal na Muslim na kabi-kabila ang mga lihim na nabubunyag sa kanilang honeymoon. Hindi na rin naman bago ang atake pero sa apat na sulok ng hotel room na ‘yun, natalakay rin ang hindi mabilang na isyu, political man o social, na marahil ay alam na rin ng audience. Gusto ko ang pagkakadirek dito. Mabilis ang palitan ng mga linya at game ang dalawang aktor sa mga batuhan ng isyu at paratang. Walang saglit na nasayang o lumaylay at nakatawid ang dula nang hindi kumukurap.  

MIND’S EYE (Trumpets) Ang una kong napansin sa dulang ito ay ‘yung stage design ni Lex Marcos. May ilang suhestiyon ito ng pagka-mobile, ‘yung madaling distrungkahin ang set at madali ring ilipat agad. Hindi rin ito mukhang ginastusan pero classy ang execution. Katulad din naman ng dula. Napaka-conventional ng pagkakadirek ni Jaime del Mundo, walang kung anu-anong palabok o ‘yung audio-visual na add-on upang lumapad ang dula. Minimal din ang galaw at nakuha nito ang katahimikan na hinihingi upang magbigay suhestiyon sa espasyo para sa malawak na imahinasyon ng ilang karakter dito. Lutang na lutang ang dedikasyon dito ni Joy Virata upang maitawid ang isang talky na dula tungkol sa escapism. Mahahaba ang mga linya at nai-imagine ko rin na dusa ito para sa ilang artista sa entablado. Marami naman akong napulot. Sa totoo lang, nakakalungkot ang premise. Ang mga pasyente sa ospital na tauhan sa dula ay para ring mga preso. At ito raw ang pinakamalungkot na maaari mong magawa sa isang mortal, ang mapalayo s’ya sa kanyang mga mahal sa buhay. Sa ganitong pagkakaton, walang wala ka nang pagkakapitan kung hindi iluwal ang sarili sa mundo na hindi nahahawakan at maari lang maabot sa tulong ng isip.

SAYAW NG MGA SENIORITA (Gantimpala Theater Foundation) Tingin ko, maayos naman ang pagkaka-adapt ni Jose Javier Reyes sa “Boys in the Band” ni Matt Crowley dahil hindi ko na naisip kung ano ang orihinal na anyo ng dula. Maayos ang pagkakapinid na gawin ito sa lokal na atmospera at humihinga ang mga karakter dito. Naiintindihan ko naman ang konsepto sa umpisa na pagsama-samahin ang mga mga pinagpipitaganang “seniorita” sa showbiz kamukha nina Joel Lamangan, Soxy Topacio, Arnell Ignacio, Manny Castañeda at BB Gandanghari. Mainam din naman itong ideya lalo na’t lumitaw talaga kung sino sa kanila ang talagang may karanasan na sa entablado. Halos minamani na nina Joel Lamangan at Soxy Topacio ang kani-kanilang role samantalang kinakailangan pang dagdagan ni BB Gandanghari ang projection ng boses. Maraming pagkakataon na hindi ko s’ya naiintindihan. Riot ang ilang bagsakan ng linya rito at nakakatawa ang ilang ad lib na mula sa mga aktor mismo. Sa pagtatanghal na napanood ko sa Tanghalang Huseng Batute, kinakailangan lang na bantayan kung kailan dapat pinapatay ang ilaw dahil minsan ay wala itong ritmo. Gusto ko rin ang stage design. Para sa isang venue na limitado ang espasyo, nagawa nitong bigyang buhay ang isang living room kung saan naganap ang pagkikita ng mga magkakaibigan.  

BATA BATUTE (Ony Carcamo at Wanlu) Libre ko lang napanood ito bilang kapalit n’ung “Stageshow” (o sadyang mabait lang at may konsepto ng suki ang namamahala ng automation ng ticketing). Hinati sa dalawang palabas ang puppet show na ito. Una ay mula sa puppeteer na si Wanlu na nilatagan ng ilang song number at ang ikalawa ay mula naman kay Ony Carcamo. May isang segment na ipinakilala ang iba’t ibang uri ng puppet na para sa akin ay isang educational na aspeto ng pagtatanghal lalo na’t ang audience ay binubuo ng mga batang estudyante.  

OROSMAN AT ZAFIRA (Dulaang UP) Pangatlong beses ko na itong napanood at mula sa iba’t ibang venue. Ang una ay sa UP mismo na hindi masyadong malaki ang stage. Ikalawa ay sa isang sinehan sa SM Mall of Asia na mas maluwag at ito ngang sa Tanghalang Aurelio Tolentino na nasa gitna ang sukat ng stage. May ilang karagdagang sequence, kung hindi ako nagkakamali. Nagbago rin ang ilang aktor (kabilang ang debut sa DUP ni Kierwin Larena ng PSF bilang Zelim na unang ginawa nina JC Santos, Acey Aguilar at JM de Guzman). Nagkaroon man ito ng panibagong timpla, hindi pa rin nawala ang tema nito ng karahasan. Napanatili ang pangil ng choreography ni Dexter Santos at umakma naman ang acoustic ng teatro para sa live music ni Carol Bello. Nakakalungkot lang na ito na ang huling pagtatanghal ng dula. Narito sa blog na ito ang aking mga naunang obserbasyon.

Maliban sa mga dulang kasali sa festival, nagkaroon din ng serye para sa mga pelikulang ginawang dula o mga dulang nagkaroon ng film adaptation. Ginamit naman ang Tanghalang Manuel Conde (o Dream Theater) para rito. Nakanood ako ng ilan kamukha ng “Bona” (ni Lino Brocka) na inulit ko, “Anatomiya ng Korupsyon” (ni Dennis Marasigan) at “Noli Me Tangere” (ni Gerardo de Leon) na para sa akin ay pinakasapat at siksik na bersyon ng akda ni Jose Rizal.

Roughly Four Months Ago: Notes from Pelicula 2012

Pelicula (or Spanish Film Festival) at Greenbelt 3 remains my favorite, locally held film festival specific to a certain foreign language. First, it’s ticketed but for a minimal amount of P65. There’s no need to queue and argue with the mall guards who do not really like films. Tickets can be purchased in advance and/or through online via sureseats.com. Second, they raffle off a trip to Spain at the end of the festival, usually during the viewer’s choice screening (this year, the bragging rights went solely to Argentina’s “Un Cuento Chino”). Third, there are staffs from Instituto Cervantes in the area attending to some queries regarding the film entries or in case you have an epiphany to study the language while watching any of the films. And lastly, the selection is just incredible, not so artsy and not so mainstream.

Below is the list of the films that I saw from last year’s Pelicula. I know it was held around four months ago already (October 4 – 14, 2012) but I just want to take note of the films before oblivion beats me. Here’s my share:

Un Cuento Chino (Sebastián Borensztein, 2011) It's the best way to start a film festival that tries to address language barrier and initiate camaraderie. On top of the novelty (an Argentine guy meeting a Chinese guy and attempted to communicate without having to talk), there’s a glimpse of how the government treats this inevitable situation. The plot may not be that fresh but I liked its treatment on quiet scenes, muted colors and emptiness. I giggled when I saw that plate of morcilla and chinchulin. The cow (an Asian farmer’s best bud and a South American’s main source of parilla) in the first scene alone tells about universality and how everything can be connected. I remember seeing its movie posters in Montevideo but I can’t watch it because there’s no English subtitles available.

Grupo 7 (Alberto Rodríguez, 2012) A fast-paced action film about a police unit that is tasked to clean up the city of Seville in time for the World Expo in 1992. Could be taken either as a popcorn flick or yet another film about police brutality. It got me glued from start to finish. I can say that it is my kind of film, the one that borders from being entertaining and at the same time, anchored in something insightful and substantial.

After (Alberto Rodríguez, 2009) For the same director who did “Grupo 7”, this is a display of versatility. It's about three friends in their 40's who had their own share of epiphany after an evening of drugs and booze. In short, it’s a film about the so-called midlife crisis as told in a Rashomon-like style. The intertwining stories may look old and overdone but it still delivered the goods.

Hollywood Talkies (Óscar Pérez and Mia de Ribot, 2011) I have never seen a documentary this weak. It's a reminder that if you don't have enough data, don't do it yet. To make up, it used some old photos of its subjects that are flashed on screen for about 20 to 30 seconds each, combined with a scary mood music and a narration that seemed like a reading from a Googled information. In between are some odd videos of the beach, old buildings and streets. It has no interviews, no details on the period, just random stories from an interesting, bygone era.

Cortos Vascos: Amar (Isabel Herguera), Flock (Asier Altuna), Daisy Cutter (Enrique Garcia and Ruben Salazar), Exhibition 19 (Alaitz Arenzena and Maria Ibarretze), The Great Race (Kote Camacho), Everything’s Alright (Miguel Angel Jimenez), A Crappy Boyfriend (Borja Cobeaga), Mouths of Sand (Angel Aldarondo) and The Award (Leon Simiani) All in all, it’s an interesting mix of short films. Memorable scenes include the meet up of the chirping crowd in “Flock”, the running kid in the animated “Daisy Cutter”, the arguing couple in “The Award” (with this one, I was thinking of the Buencaminos) and the irresistible metaphor in “A Crappy Boyfriend”. But my favorite has to be “The Great Race” which is in B&W. I wasn’t so sure what the statement it is trying to convey (could be the passion for betting) but the unmanned horse race got me.

Dos Hermanos (Daniel Burman, 2010) This is my favorite among the films that I saw from the lot. It’s about siblings Marcos and Susana in their 60’s who have no choice but to reconcile their differences after their mother died. It’s actually a comedy but very restrained. It’s also very accessible in terms of character study. The personalities in focus are very interesting. One is very loud and outspoken while the other is exact opposite. The use of Argentina and Uruguay as neighboring countries is a good metaphor for this brother-sister movie; they look close but not always entirely.

5 Metros Cuadrados (Max Lemcke, 2011) This is very similar to what our very own Joel Lamangan could do if given a chance. It’s a take on oppression as seen from the point-of-view of a middleclass couple who spent what they have and bought a home from a problematic construction company. The last few sequences are very much similar to Brocka’s “Bayan Ko: Kapit sa Patalim” only more melodramatic and less subtle. It could be a statement on Spain’s recent economic woes and in that aspect, the film is very relevant.

Madrid, 1987 (David Trueba, 2011) Among the bunch of entries, this one is probably the most polarizing. For around 104 minutes, the movie injects claustrophobia through a conversation between a young and beautiful student and an old journalist both trapped in a bathroom somewhere in Madrid. It’s actually an interesting proposition considering the age gap and what could have been the opposing views, no matter how twisted, of the two characters. Along the way, I got bored and lost track of the essence of it. Maybe there are some points there that could only be truly appreciated if I were a local.

La Chispa de la Vida (Álex de la Iglesia, 2011) This dark comedy is very easy to like. Salma Hayek stars as the wife of Roberto who once became famous for an ad slogan for Coke. While visiting a hotel with sentimental value, which is now turned into a city museum, Roberto falls in scaffolding and finds his head trapped in an iron bar. The accident turns into frenzy as media covers the whole incident and network bosses haggle for exclusivity. I actually enjoyed the premise. It’s just that everything is so obvious and most of the actors, Salma Hayek included, took it in a very loud approach.

Pa Negre (Agustí Villaronga, 2010) This coming of age tale in a post-war era in a Catalan countryside tells the story of Andreu (impressively acted by Francesc Colomer) as he struggles to unmask the real killers of a murder of a father and a son whose bodies he himself has discovered. I saw somewhere that this film is an adaptation of a powerful novel and this is pretty much evident most of the time. The last scene with Andreu in an attempt to sum up what he has become as a person after the war has a dark, lingering effect.

80 Egunean (José María Goenaga and Jon Garaño, 2010) The look and feel of this film about two 70-year old women who had an affair, despite of one of them having a husband, in span of 80 days (thus the title) is very similar to the texture of our roster of indie films. I can imagine the likes of Jeffrey Jeturian doing a similar form of aesthetics. It’s essentially a small film with very minimal characters but the emotions are quite powerfully restrained. Thanks to its actors. I also find it insightful. Given the contemporary backdrop, the take on homosexuality is still traditionally verbalized without the conceit of berating it or worse, bragging about it.

18 Comidas (Jorge Coira, 2010) I capped the festival with a feel-good indie film about food. It is set in a city known for good cooking with a series of short stories that displays how a meal serves as a sounding board to some people. There’s this small time actor who waits for her date from breakfast to dinner. There’s a bored housewife who invites her musician ex-boyfriend for lunch. A gay couple’s meal for a visiting brother suddenly turns awry. A young woman tries to end an affair with a married guy over dinner. A sister follows her luck on music after working to a family-owned restaurant for some years already. And then there’s an old couple who does nothing much in life than eat together in a small apartment.

Ang Pinakamataas na Paglipad na Maaaring Maabot ng Isang Ibon

The King of the Birds
Produksyon: Tanghalang Ateneo
Direksyon: Ron Capinding
Mandudula: Jean-Claude Carrier at Peter Brook (halaw mula sa tula ni Farid ud-Din Attar)
Mga Nagsiganap: Domie Espejo, atbp.

Sa unang tingin at sa isang napakababaw na layer, puwedeng ikumpara ang mga aktor na naka-costume bilang ibon (kuwago, kalapati, lawin, atbp.) sa mga aktor na naka-costume ng pusa sa "Cats". Tungkol din kasi ito sa isang pulutong ng mga hayop na nag-uusap at nagkukwentuhan. Ito nga lang sa “The King of the Birds”, may masidhing nais itong ipaalala sa atin bilang tao. Ang lahat ay nag-ugat sa pagnanasang makita ng mga ibon ang isang hari (Simourgh). Nagbunsod na mithiin ang ganitong pangangailangan nang mawala ang kanilang lider. Sa pangunguna ni Hoopoe (Domie Espejo), lumipad ang dula sa isang mabigat na paglalakbay ng mga ibon.

Sa punto ng pagsasateksto ng synopsis, hindi pa rin kakakitaan ng insight ang dula. Nagkaroon lang ng igting nang inumpisahan ito sa pamamagitan ng dasal ng isang paring Katoliko, ng isang imam, isang katutubo, isang Buddhist at iba pa. Tungkol ito sa faith, isang ispiritwal na paglalakbay na ang dulo ay walang ibang kinahinatnan kung hindi ang sarili at sarili pa rin. Gamit ang sufism (na ayon sa wikipedia ay “defined by its adherents as the inner, mystical dimention of Islam”) mula sa isang mahabang tula na isinulat noong 12th century pa, isinahalintulad ang flight ng mga ibon sa isang pagsubok. Sa ibang mas kampanteng pananaw, maaari itong tawaging isang pagpapanday sa bakal upang maging mabuting espada o pagkiskis sa magaspang na bato upang maging diyamante.

Hindi naging madali ang paglipad ng mga ibon sa disyerto at pitong burol (sa isang eksena ay bumalik ang paring Katoliko at iba pa upang idulog bilang monologo ang mga pagsubok na kinakaharap ng simbahan ngayon). Sa daan, marami ang nais nang bumitiw at bumalik sa kanilang sari-sariling pugad ng kumpiyansa at kaginhawahan. Ang bawat ibon ay may makasariling rason upang huminto, isang tahasang pagdedeklara ng dula na walang sinisinong relihiyon at lahi ang materyal. Hindi lahat ay nakaabot maging sa gitna ng biyahe. May ilang napagod na at ang ilan ay kumapit sa mga pangakong hindi nila pisikal na mapanghahawakan. Hindi ba’t ito mismo ang pinakabukal na punla ng ating ispirituwalismo? Kamukha ng core ng libro (at pelikulang) “Life of Pi”, sinasabi lang na ang faith (hindi religion, na ayon sa isa pang pelikula naman noon ni Harrison Ford ay maghahati sa atin, hindi magbubuklod) ay malilitis lamang sa oras ng kawalan ng lakas at pag-asa, sa hangganan ng pagkalasing o sa dulo ng pisi. Walang kasiguraduhan na ang pananampalataya kailanman ay matatagpuan sa bahay-dasalan o sa kung ano pa mang bagay. Sabi nga ng isang ibon, “I see nothing and yet I see everything.”

Maliban sa mortal na katawan (para sa mga ibon, ang kanilang mga pakpak), kinakailangan ding saliwan ang paglalakbay ng mga ilang aral na pag-uusbungan ng second wind. Sa daloy ng dula, may ilang maiiksing kuwento ang ipinapakita upang manatili sa focus ang mga ibon. Hindi ko alam kung may direkta itong pagpapatungkol sa mga kuwento sa, halimbawa, Bibliya o Koran, na madalas na ginagamit bilang giya sa buhay. Kung ano pa man, ang gusto yatang pagtibayin ng dula ay ang angkop na pagsasabuhay ng isang faith na pinagbuklod ng pisikalidad at karampatang binhi ng salita o teksto.

Hindi ko na sasabihin kung natagpuan ng mga ibon ang kanilang hari. Hindi na ito masyadong mahalaga sa ngayon. Sa umpisa ng dula, ipinabahagi ang ilang papel na dilaw sa mga manonood. Hiniling na isulat dito ang mga bagay na makakapagpigil sa atin upang kagiliwang makita ang hari at ang kawalan ng pagkakataon na makakabalik pa. Hindi ako nabigyan nito pero kung sakali, isusulat ko siguro ang aking pamilya. May munting agam-agam sa akin kung ano ang partikular na sagot ng ilang kabataan sa audience. Siguro ay kasintahan, comfort ng sariling silid, internet, sasakyan at kung anu-ano pang luho o bisyo. Katulad ng mga ibon, may mga bagay talagang magpapabigat sa ating paglipad at ito, bilang isang mortal, ay hindi maiiwasang pasanin.

Matagal ko sigurong makakalimutan ang eksena sa dulo tungkol sa pagharap sa liwanag. Kinilabutan ako, isang bagay na bihirang bihira kong maramdaman sa isang sermon sa simbahan. Para akong pinasadahan ng neuralyzer sa “Men in Black” at nakalimutan ko ang kinang ng direksyon ni Ron Capinding dito at ang ensemble acting o ng mga magarang costume at make-up o kung gaano kapayak ang production design ni Gigi de Jonghe. Naalala ko ang consequence ng pagsugod ng gamugamo sa apoy sa kuwento ni Rizal. Maaari natin itong ikasunog nang tuluyan o maaari rin namang ikawala lang ng pakpak upang mapilitang harapin ang kapalaran. “Enter”, ‘yan ang nag-iisang clue na ibinigay ng hari (na ang pangalang Simourgh ay katunog ng “see more”). Kamukha yata ito ng pagsambit ng “Siya nawa” o “Amen” sa bawat dulo ng dasal. Isa itong pagseselyo ng pagsuko sa isang higher being at pagluhod sa pag-iisang dibdib ng sariling katawan at isa pang “sarili” sa loob nito.

Movie Digest # 088

THE MISTRESS
Power Plant Cinemas, Cinema 1, September 12, 6:00pm

There are supposedly three bestselling points in the film. First, the mistress as human factor. This is connection with the blockbuster success of films like “No Other Woman” and “A Secret Affair”. Secondly, the John Lloyd - Bea tandem. They have done a lot of romantic films under Star Cinema, mostly hits. And third, the Kapamilya Acting 101 as instructed by Olivia M. Lamasan. First point seemed forgotten in the end. Second point worked well as I expected. The third point, occasionally effective but high-pitched all through out. It still has that Star Cinema ending only slightly less irritating than the rest (with emphasis on "slightly").

Friends who might appreciate it: Those who think that John Lloyd Cruz was a better replacement of Derek Ramsay.

GRACELAND
Robinsons Galleria, Cinema 7, September 16, 6:00pm

The saving grace of this crime drama is that it is fast paced and the take on corruption and poverty is not that in your face. It’s an outsider’s commentary and it doesn’t try hard to address anything. The focus is on human struggle, initially projected as a father in search for his daughter, as something universal and relatable. It could have been be better if the lead character doesn't cry a lot just to highlight the drama. Best part for me is the epilogue.

Friends who might appreciate it: Those who can prove that this is a better “Taken”.

PRIDYIDER
SM Megamall, Cinema 9, September 19, 6:00pm

Still feels like a short “Shake, Rattle and Roll” episode to me, with a conflict that can be easily resolved in, say, 30 to 45 minutes of running time. But there are a lot of good stuff out of its simplistic premise. Those violent and gross scenes are quite enjoyable. CGI is also well utilized, probably one of the best in recent Pinoy films. And there's discipline. It doesn't have the impact or even the statement of Ishmael Bernal's original but Rico Maria Ilarde is psyching its audience once again to dig deep on what's inside or what's underneath. Only more literal this time. Andi Eigenmann has proven that she’s really an Eigenmann. She has the sensuality and the flair needed for the role. Her screen presence with JM de Guzman worked really well.

Friends who might appreciate it: Those who are tired of having a Kris Aquino horror movie experience.

GENGHIS KHAN
SM Mall of Asia, Cinema 1, September 29, 7:00pm

This is a glaring proof that we can make outstanding movies during the 50's. It's a triumph for those who restored it and have it handed over to our shores. Of course, it's not perfect, like the continuity issue with the fight scenes, etc., but it's never shallow. Manuel Conde's sense of filmmaking is just ahead of his time. It's beautifully shot given the budget limitation and the storytelling is intact. Filipino filmmakers (and audience) of this generation should start reconsidering.

Friends who might appreciate it: Every Filipino, film lover or not.

PERKS OF BEING A WALLFLOWER
Glorietta 4, Cinema 3, September 29, 10:10pm

I've seen it all somewhere before (emo movie packed with emo songs) but it got me. It's a well acted, coming of age film with an agenda that is broader than what I expected. It's about family and friends, about high school and about first love pre-social media days. What sets it apart is that it provides a different dimension on facing the first day of highschool. Charlie (Logan Lerman) is seen here as having difficulty on meeting other people and blending in. This could be taken as an experience that is easily relatable since most of us had gone through it. Then the last 10 minutes just tweaked that notion into something more introspective.

Friends who might appreciate it: Parents of tweens or just tween at heart.

OF ALL THE THINGS
Greenbelt 3, Cinema 3, October 2, 8:20pm

It’s an all-out formula movie with the main intention of providing "kilig" for the audience. Though it did not succeed, I had the impression that the writer did a good job in researching for the characters, given the limitation that Aga and Regine can no longer do a John Lloyd - Bea. The first part that introduces the pair in their respective worlds had me hooked. I'm not sure if it is the brisk editing or it is the effort in making it less Star Cinematic as possible. It doesn't have the customary montage while the theme song is playing and it has no irritating chase scene in the end. Bb. Joyce Bernal must be mellowing.

Friends who might appreciate it: I don’t mind recommending this to everybody with a thought that there’s hope in mainstream cinema.

TAKEN 2
Greenbelt 3, Cinema 1, October 7, 7:30pm

Empty and trite, very Luc Besson. I hope there are no more sequels after this.

Friends who might appreciate it: A part of me is saying that Turkey remains a promising tourist destination after watching it so I recommend this to travel buffs.

END OF WATCH
SM Megamall, Cinema 2, October 14, 9:40pm

It takes a while to get the hang of the found footage approach but past that, this film by David Ayer is a rare and enjoyable viewing experience. The police, for a change, are depicted as the way we expect them to be: trusted keepers of peace and security who are willing to risk their life on the streets. Stellar performances from Jake Gyllenhaal and Michael Peña deserve at least some nods from any major award giving body. Bonus: Must-see, cute wedding dance number from Jake and Anna Kendrick.

Friends who might appreciate it: Those who dig MC Hammer.

SALMON FISHING IN THE YEMEN
Glorietta 4, Cinema 4, October 15, 9:25pm

Effective in minimal quiet scenes that involve the nature, something that is expected from a Lasse Hallström film. The political satire part did not work for me but at least it showed that Kristin Scott Thomas can justify an Emma Thompson role. Emily Blunt can pull a romance film anytime but the film is not only about her or her screen partner Ewan McGregor. It's also about the British government, the sentiments in rich Arab countries and the faith in fishing.

Friends who might appreciate it: No idea. The eclectic mix of themes is very tricky.

THIS GUY’S IN LOVE WITH U, MARE!
Greenbelt 3, Cinema 1, October 16, 8:10pm

What I find depressing is the idea that it is mainly banking on a gay character (by an openly gay actor) doing a caricature on male sexuality just to get his man back. In the first place, he should have just spilled the beans upfront and the ex-boyfriend's new relationship would be over. The film tried to introduce a kind of relationship that's rarely tackled in mainstream cinema but it's not very clear with its intent. If the reason behind Mike’s (Luis Manzano) relationship with Lester (Vice Ganda) is about the money, then we're down to the old, maligned treatment of the third sex. It is a lousy filmmaking as well. One glaring proof is that it should have gone a bit further in making the gay character look believable with his attempt on machismo. We've seen the likes of Mrs. Doubtfire, Tootsie and even the Ogie Alcasid-starrer Oh, My Girl! This one just presented the idea and stopped there.

Friends who might appreciate it: Those who have extra money.

ARGO
Newport Cinemas, Cinema 2, October 20, 3:55pm

This Ben Affleck-directed film is an insightful and well executed entertainment with a rousing last 15 minutes that kept me to the edge of my seat. In a very accessible way, it retells a story of CIA agent (Ben Affleck as well) who tries to rescue the employees of the American Embassy through a mock location shoot in Iran with the help of a Hollywood producer. Could be treated as a popcorn film but it also has some good stuff underneath. Production-wise, it's more ambitious than the director's first two films. It seals the notion that he has a rightful place in filmmaking, one of the rare instances that Hollywood is doing it right.

Friends who might appreciate it: Everybody.

LOOPER
Newport Cinemas, Ultra Cinema, October 20, 6:55pm

It's not an all-out, action-packed sci-fi film that I expected it to be but I enjoyed it being unpredictable. This time machine material lays down the piece one after another and brings the audience to a small scale but satisfying resolution. The first half introduced the concept in a brisk pace while the second half slowed down a bit to connect the bits of the puzzle. Joseph Gordon-Levitt did great, as well as (surprisingly) Bruce Willis.

Friends who might appreciate it: Eventhough I did like it, I think most of my friends will.

TIKTIK: THE ASWANG CHRONICLES
Newport Cinemas, Cinema 4, October 20, 10:20pm

It's a buena mano for the green screen filmmaking in Pinoy cinema with a thin, segunda mano storyline. It seemed like it was stuck toying with the new technology, which ocassionally worked, and forgot to expound the aswang folklore. It showed that they are there, period, and the humans didn't even have some sort of disbelief. Was it even in the Philippines and in what period? It didn't help, too, that Dingdong Dantes was exerting too much effort for the bad boy role. He has to be reminded to downplay a bit.

Friends who might appreciate it: Not for me but this is an essential viewing for Filipinos.

V/H/S
SM Megamall, Cinema 11, October 21, 11:20am

This film that debuted at Sundance Film Festival last year worked fine as it is, except for the last story that contained too much CGI. There's actually nothing much but I appreciate the playfulness and the feel. It doesn't look like it's achieving a lot of things other than to inject small bits of fear. Some stories may be too short to savor but at least it is conscious enough in providing a plot given the limited time. Among the episodes (including the frame narrative), I enjoyed the very first one about guys who met a strange woman and the one that deals with videochat.

Friends who might appreciate it: I can easily single out some.

SINISTER
SM Megamall, Cinema 12, October 21, 2:30pm

The boogie man's image is scary enough but the rest are the usual, manipulative cheap tricks. It isn’t hard to guess the twist and the appearance of the kids somewhat breaks the chill. Also, I'm not impressed with the acting (especially Ethan Hawke who does a Christopher de Leon here) and the resolution looked detached and questionable.

Friends who might appreciate it: Those who will enjoy V/H/S.